Best 14098 quotes in «character quotes» category

There never has been a great and beautiful character, which has not become so by filling well the ordinary and smaller offices appointed of God.

There never will exist anything permanently noble and excellent in the character which is a stranger to resolute self-denial.

There must be, in any complete revelation of God's mind and will and character and being, things hard for the beginner to understand; and the wisest and best of us are but beginners.

There never was a strong character that was not made strong by discipline of the will; there never was a strong people that did not rank subordination and discipline among the signal virtues. Subjection to moods is the mark of a deteriorating morality. There is no baser servitude than that of the man whose caprices are his masters, and a nation composed of such men could not long preserve its liberties.

There must be some point, at which the lawyer's own personal and social morality will rebel against his traditional allegiance to his client.

There never was a good knife made of bad steel.

The Republican Party has consistently opposed Obamacare (as costing more), stimulus spending (as increasing inflation), etc., none of which has happened in spite of seven years of their warnings. Their main problem is that they don't have the character to admit that they are wrong. They don't have enough character to rethink their deeply held assumptions.

The Republic can count on me to battle its enemies... Offensive war suits the passionate character of the French, but it is the responsibility of the man in charge of leading them to prepare with caution and wisdom everything that leads to victory.

The reputation of generosity is to be purchased pretty cheap; it does not depend so much upon a man's general expense, as it does upon his giving handsomely where it is proper to give at all. A man, for instance, who should give a servant four shillings, would pass for covetous, while he who gave him a crown, would be reckoned generous; so that the difference of those two opposite characters, turns upon one shilling.

There's 54 years of X-Men comics by now, so there are a lot of characters to explore.

There's a big difference between "not caring" or being "nihilistic" about a topic and simply not being enrolled by the drama presented by other people. Just because my characters choose not to react in standard, socially-appropriate ways - that does not mean they don't care. They just reject ordinary dramas.

There's a character that I play onstage, and I can't let him loose in the supermarket when I'm buying my beans on toast.

There's a button that goes On and I'm On. And when I go On, there is almost no me; there is just a character who is doing all this.

There's a certain way you stand to give yourself authority, which gives you the texture for the part. I chose that my character hadn't been married, he'd worked his way up the chain of command. For a small cameo role, I gave it a lot of thought.

There's a certain amount of pressure that goes with writing superhero characters, especially characters that are beloved to audiences. You know that you're always writing into a certain amount of expectations and into an existing fandom, and I try to take the pressure of that in when I first accept a project and then I try to push it aside as much as possible and just focus on the story that I want to tell. It's definitely a little more pressure than writing something of your own, from your own brain, and creating those expectations from scratch. But I also like the challenge of it.

There's a certain type of character that you can't help but come in contact with growing up and living in Brooklyn and Long Island. A certain mixture of moxie, heart, and a wise guy sense of humor.

There's actually a big difference between story and character. A great story doesn't make a great movie. A great script, which defines its moments and characters can become a great movie. You can make a movie that makes a lot of money and it may or may not have great story or great characters.

There's a difference between the way I see it and the character's interpretation of the events, so the rules within the film are the rules within the film.

There's a fine line between character building and soul destroying.

Theres a fine line between playing a dim-witted character and playing a cartoon.

There's a conventional reaction when you see a star: You anticipate he'll be a part of a particular denouement down the road, so you don't worry for that character.

There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.

There's a difference in our ages [with Leonardo DiCaprio], but we were both in the same sort of position [on The Quick and the Death movie].Everyone below us in a casting position were all these really famous character actors like Keith David. And they were looking at the two of us going, 'Who are these guys?' So that naturally kind of put us together in a way where we'd just hang out together because we didn't care about status. We just wanted to enjoy the experience. The two things that have changed about Leo [ DiCaprio] since that time: he can drink legally and he's no longer a virgin.

There's a little bit of me in all of the characters I've played. I've never really had the opportunity to play something that's a complete departure from me.

There's a lot of great stories and a lot of great values in the Holy Bible, and I actually relate to a lot of them. The character, the idea, or the part of my personality that I describe as Antichrist Superstar, is a lot like Lucifer in the Bible. Someone who was kicked out of heaven because he wanted to be God

There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.

There's a kind of chemical spark that comes sometimes with the character, that you don't even have to think about how she is reacting, you just let yourself go. You just let the character take you, instead of taking the character.

There's a lot of me in it. But the character is more egotistical. I'm also egotistical, but not the way the character is. This guy is successful, he has everything, but his wife has left him. The most important value - love - is missing. What is wrong with this institution called 'marriage'? What is wrong with this institution called 'the pursuit of happiness'?

There's a lot of kids' shows that are really popular ratings-wise, but they don't sell a lot of stuff. A character on a backpack just doesn't have the same appeal as watching it on TV.

Theres always an anxiety about playing literary characters because one of the great joys of reading books is that you can create your own vision of things.

There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.

There's a lovely freedom of will when you approach a character that no one has really come across before, because it is your own interpretation.

There's always a connection to be made whether you're playing a psychopath or whatever. It doesn't really matter; you've got to find this thing that you relate to with each character otherwise you're missing something.

There's always something more to be accomplished with a character. Theater is a human experience. There's nothing shellacked or finished off about it. I guess that's why it always draws me back.

There's also something happening in television similar to what happened in the '80s, when people stopped taking so many drugs and wanted to hear real instruments in music again. I think people want plot, story and characters. Those are more important than having a big star.

There's always down time when you're an actor, especially a character actor.

There's always that key to every character that lets you go to those places you need to go to. No matter how much you might hate the character, it makes you understand it.

There's an all-enveloping destructiveness in Donald Trump's character and in his psychological tendencies. But I've focused on what professionally I call solipsistic reality. Solipsistic reality means that the only reality he's capable of embracing has to do with his own self and the perception by and protection of his own self. And for a president to be so bound in this isolated solipsistic reality could not be more dangerous for the country and for the world. He's not psychotic, but I think ultimately this solipsistic reality will be the source of his removal from the presidency.

There's an inherent responsibility actors feel when portraying something that actually exists in the world. It's arguably something that not all actors would agree on because this is a craft, but for me, it's the emotion of what a character is going through that makes the performance what it is. We have a responsibility to bring those emotions to light.

There's an institution here called the National Sound Archive, and there's a character who works there, Paul Wilson. He takes a very special interest in the history of the music and advised Martin Davidson of the existence of these tapes.

There's an unwritten law that you cannot have a Jewish character in a film who isn't 100 percent perfect, or you're labeled anti-Semitic.

There's a method aspect to Campbell Scott character and he really wants to get into his character and he wants to cast to go on a fast so that by the time the play opens nobody's eaten in three days because he wants the audience to feel the pain from the stage.

There's a potter that lived back in the 1800s, in Biloxi, Mississippi, and his name was George Ohr. He was of Russian descent, but they called him the "Mad Potter of Biloxi." I'd love to do a great character study and comedy about that guy's life. That would be my dream role. I know it's an oddball thing, but it's true. He lived at the turn of the century, in the 1800s.

Theresa Rebeck's writing is so scarily funny. I just love how unapologetic she is with her writing: she doesn't try to make her characters likeable or heroic, she just really makes them human. Hopefully, the audience is able to love them in the end - or have whatever feelings that they want to have about all of them - but I love that she doesn't have that agenda. That is something that, as an actress, was really appealing to me; to just get to be in this group of people who are complicated and very human.

There's a remarkable amount of sexism on TV. When male characters are flawed, they're interesting, deep and complex. But when female characters are flawed, they're just a mess. It's good to put more flawed but interesting female characters out there because it promotes equality.

There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.

There's a rhythm to the words combined with the pictures [in a comic]. Whenever I'm working on a comic strip I re-read it, probably hundreds of times through to pay attention to how all of those things work. Sometimes even changing the angle of a character's eyebrow can really, seriously alter the effect and overall interpretation of a scene. And the insertion of a pause or a cough or a sniff, and all these things that we do in conversation, can bring it to life in a strange way.

There's a rule in acting called, 'Don't play the result.' If you have a character who's going to end up in a certain place, don't play that until you get there. Play each scene and each beat as it comes. And that's what you do in life: You don't play the result.

There's a theory that nobody believes. That Robert Mueller is Mr. Honest and Mr. Integrity, has no preconceived notion and is really gonna look to find what happened in White House and whatever he finds is what he's gonna tell us. That's the thing that you would associate with Mr. Integrity, with Mr. Honesty, with Mr. Character, is the last thing anybody thinks is gonna happen.

There's a wealth of literature out there which, hopefully, will be, you know, exploded in the future, and I personally find it very rewarding to be involved with classic storytelling, and sort of legendary characters.