Best 14098 quotes in «character quotes» category

The truths of the Scriptures are so marked and inimitable, that the inventor would be more of a miraculous character than the hero.

The truth of the matter is this - I never look for films specifically, because ultimately if the fundamentals of the character and the script and the director aren't there, it makes it a moot point.

The truth is these characters [of Batman story] evolve, and there's a lot of hands in the supporting of these characters. It's great when everybody can know where everything came from. It's important for the legacy of them.

The ultimate aim of Karate lies not in victory or defeat, but in the perfection of the character of its participants.

The two mistakes that come to mind are people who introduce a flood of characters in the first few pages. Where the reader has to stop and get out a flow chart and has to figure out who is who. And you just can't do that - introduce the first four generations of a character's family in the first chapter. You can introduce four or five characters at the most in the first chapter. Another mistake is to use big words that are not normally used in conversation to try to impress folks with your vocabulary.

The two great tests of character are wealth and poverty.

The type of acting that I'm interested in, that I aspire to, is where I try and drag a lot of myself into whatever character it is. They can be very different types of characters, but at the heart of it, I always wanted to be a very, very believable and rooted in reality. One of the ways of doing that is to root it as much as you can in your own experiences and then tint those with different hues, different colors to give the different characters their way.

The two things that I thought were really interesting about this character [Bow] for me were that she actually loved her husband, and he loved her. The comedy was not coming from the fact that they hated each other. Which is what television couples are usually based on.

The type and formula of most schemes of philanthropy or humanitarianism is this: A and B put their heads together to decide what C shall be made to do for D. The radical vice of all these schemes, from a sociological point of view, is that C is not allowed a voice in the matter, and his position, character, and interests, as well as the ultimate effects on society through C's interests, are entirely overlooked. I call C the Forgotten Man.

The ultimate foundation of honor is the conviction that moral character is unalterable: a single bad action implies that future actions of the same kind will, under similar circumstances, also be bad.

The ultimate test of a nation's character is not how it responds to adversity in war but how it meets the challenge of peace.

The unfinished character of human beings and the transformational character of reality necessitate that education be an ongoing activity.

The ultimate is not to win, but to reach within the depths of your capabilities and to compete against yourself to the greatest extent possible. When you do that, you have dignity. You have the pride. You can walk about with character and pride no matter in what place you happen to finish.

The United States is a special case, and for me, very interesting. It's studied carefully and we know a lot about it. One of the most striking features of the elections is the class-based character of the vote. Now, class is not discussed or even measured in the United States. In fact, the word is almost obscene, except for the term "middle class." And you can't get exact class data; the census doesn't even give class data. But you can sort of see the significance of it just from income figures.

The unique character of political activity lies, quite literally, in its publicity.

The United States grants the favors of the second, third, or fifty-seventh chance, and its citizens remain free to invent for themselves whatever character draws a crowd or pays the rent.

The Universe is a dream dreamed by a single dreamer where all the dream characters dream too.

The Universe is a grand book which cannot be read until one first learns to comprehend the language and become familiar with the characters in which it is composed. It is written in the language of mathematics.

The universe seems bankrupt as soon as we begin to discuss the characters of individuals.

The US ... cultivates no origin or mythical authenticity; it has no past and no founding truth ... it lives in a perpetual present. in the US everything human is artificial. The country is without hope. What is arresting here is ... both the absence of architecture in the cities and the dizzying absence of emotion and character in the faces and bodies.

The value of liberty was thus enhanced in our estimation by the difficulty of its attainment, and the worth of characters appreciated by the trial of adversity.

The value of culture is its effect on character. It avails nothing unless it ennobles and strengthens that. Its use is for life. Its aim is not beauty but goodness.

The usual marriage in traditional cultures was arranged for by the families. It wasn't a person-to-person decision at all. . . . In the Middle Ages, that was the kind of marriage that was sanctified by the Church. And so the troubadour idea of real person-to-person Amor was very dangerous. . . . It is in direct contradiction to the way of the Church. The word AMOR spelt backwards is ROMA, the Roman Catholic Church, which was justifying marriages that were simply political and social in their character. And so came this movement validating individual choice, what I call following your bliss.

The vampire was a complete change from the usual romantic characters I was playing, but it was a success.

The very difference of character in marriage produces a harmonious combination.

The vast majority of golfers don't go on to play golf as a profession, but they do go onto other professions where there will heat on them from time to time. Some people choke under pressure. If you have that as part of your character - that you don't perform well under pressure - it's really important for you to know that. The game teaches you about that.

The very term 'combinatorial methods' has an oxymoronic character.

The violence for me is never meant to be entertaining. It's meant to hurt the characters and I'm trying to show the impact it is having on the people involved with it. If there is cathartic violence at the end, then it costs the protagonist something. It's not just a blaze-of-glory moment.

The vilest abortionist is he who attempts to mould a child's character.

The virtue you would like to have, assume it is already yours, appropriate it, enter into the part and live the character just as the great actor is absorbed in... the part he plays.

The villain of any story is often the most compelling character.

The victories of character are instant, and victories for all.

The villains are all parts of me. For years I've been wondering what it would be like if all those negative elements were forced onto the main character's side. I can understand a character with that kind of anger.

The vogue of the New Negro . . . had all of the character of a public relations promotion. The Negro had to be "sold" to the public in terms they could understand.

The way I approach the character isn't about being gay or straight. It's just about who you love. Gender has very little to do with it.

The way Disney characters move, they're very kind of slow and fluid and flowing; one pose kind of eases into the next. If you look at a show like 'The Simpsons' and subsequently a show like 'Family Guy' - the characters will jerk from pose to pose a lot, a bit more snappy. Which sort of goes along with the writing tone of the show.

The way glass can be molded or blown or cut into any kind of shape made me think about how we as people - our characters or souls - can be shaped or changed by outside influences.

The wardrobe is always the last piece of the puzzle. When you step into the clothing, that's the final step to figuring out that character.

The way I saw the characters these things just happened naturally. At the same time - and I know it's probably not apparent when you read the book - but I really tried to hold back because I didn't want it to become a cartoon.

The way of creating believable characters is not by conforming to a set of PC rules.

The way I see the job, my definition of it, is to create characters to the best of your ability and then fit into what's trying to be accomplished in the general framework of the film. I think that's whether you're doing this- even if you're doing musical theater. That's what I think an actors job is. I don't know. I like to think what an actors job is is to create characters.

The way is not always easy, but in order to bring a work through to completion, you will need a strong character, a broad foundation of knowledge and an enormous force of persuasion.

The way I write is that I'll actually have a conversation out loud with myself. In a weird way, I just kind of get schizophrenic and play two characters.

The way Jacques Brel writes a story, getting into the character, bringing out all his faults and qualities in the same song.... Not that I could ever write in such an epic way, but it really is a different way to go about writing lyrics...and I find that quite inspiring.

The way television works is that directors come in and out, and they're not there all the time, following every character through every scene. They're vagabonds who go from one show to another.

The way people respond to struggles or express their feelings in difficult situations are very different. I like imagining how characters would react in certain situations.

The way I prepare is through script analysts and back story. I create back story for a character based on script analysts, filling in as many details as possible. I also do a lot of research.

The way I write is that, every time I reintroduced a character, I'd have to face some kind of inner demon.

The way I write is very much without kind of a goal. I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.

The way that you have cut the film, you can take the audience out of the action if it becomes evident that there is a stunt double doing it rather than the actor. I'd rather stay with the character and the story point behind the fight, rather than cutting to a wide angle of the fight.