Character Quotes - Page 171

Strong feelings do not necessarily make a strong character. The strength of a man is to be measured by the power of the feelings he subdues not by the power of those which subdue him.

The formation of character in young people is educationally a different task from and a prior task to, the discussion of the great, difficult ethical controversies of the day.

But Shakespeare knows what the sphinx thinks, if anybody does. His genius is penetrative as cold midwinter entering every room, and making warmth shiver in ague fits. I think Shakespeare never errs in his logical sequence in character. He surprises us, seems unnatural to us, but because we have been superficial observers; while genius will disclose those truths to which we are blind.

I'm more interested in talking about what I do. And I don't think people are interested in my personal life. I've never had a Hollywood life. I've always been a worker. But it's true: If you know something about a person outside of the movie that is really repulsive to you, it's hard to shake. So I prefer to do my speaking through the work. I don't want people to know anything about me, because that's not important. I'm more interested in the me that takes shape through these characters. The other stuff is personal and too easy to trivialize out of context.

I've always been attracted to characters with insurmountable odds and obstacles, because innately, however inarticulately I've always believed that my dreams and my desires can command and bend time and space to be the things that I want them to be.

The quality of your life was determined by the quality of your service. I'm attracted to characters who have a higher calling, who want to serve in ways where you get beyond the comfortable service and you get into the space of the sacrificial. And I really am attracted to characters who just want to do things that brighten the world. That probably is the central aspect of my personality.

I'd like to go back and revisit the Flash/Captain Cold relationship, because that to me has been the heart of it all along. My impression is that The Flash is a show about a boy's journey into manhood. For the Flash character, there is a variety of male models presented to him, and Captain Cold is one of them.

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

Right up till the 1980s, SF envisioned giant mainframe computers that ran everything remotely, that ingested huge amounts of information and regurgitated it in startling ways, and that behaved (or were programmed to behave) very much like human beings... Now we have 14-year-olds with more computing power on their desktops than existed in the entire world in 1960. But computers in fiction are still behaving in much the same way as they did in the Sixties. That's because in fiction [artificial intelligence] has to follow the laws of dramatic logic, just like human characters.

Complete freedom debilitates art but reveals much about character.

It's always a challenge bringing a great story classic to the screen. Giving visual form to the characters and places that have only existed in the imagination. But it's the kind of challenge we enjoy.

We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us.

Every autobiography is concerned with two characters, a Don Quixote, the Ego, and a Sancho Panza, the Self.

If it really was Queen Elizabeth who demanded to see Falstaff in a comedy, then she showed herself a very perceptive critic. But even in The Merry Wives of Windsor, Falstaff has not and could not have found his true home because Shakespeare was only a poet. For that he was to wait nearly two hundred years till Verdi wrote his last opera. Falstaff is not the only case of a character whose true home is the world of music; others are Tristan, Isolde and Don Giovanni.

Time, which alone makes the reputation of men, ends by making their defects respectable.

It is not for nothing that Skaldin in one part of his book quotes Adam Smith: we have seen that both his views and the character of his arguments in many respects repeat the theses of that great ideologist of the progressive bourgeoisie.

Number one rule for fiction: Coincidence can be used to worsen a characters predicament, but never to solve his problems.

Any story dealing, however seriously, with homosexual love is taken to be a story about homosexuality while stories dealing with heterosexual love are seen as stories about the individual people they portray. This is as much a problem today for American filmmakers who cannot conceive of the presence of gay characters in a film unless the specific subject of the film is homosexuality. Lesbians and gay men are thereby classified as purely sexual creatures, people defined solely by their sexual urges.

I always say that, like a scientist or anyone, you always want to be the problem-solver. You feel like, if you solve the greatest mystery or the greatest problem, then that makes you brilliant. It's the same thing with an actress. You want to be able to really tackle a character and make it a fully-dimensional human being who is complicated, funny and all the things that a person could be.

I found my niche as a character actor, and I've never felt like a movie star or teen idol and never wanted to.

It's very rewarding to see the movie, and it's very rewarding to make the movie, but playing the character [Riddick] is sometimes a lot more difficult than other characters because it takes so much preparation to get into that character.

I played Lucifer once, which is sort of a difficult character to research. I thought to myself, "We all have the potential to be selfish, to be cruel - at least to think evil thoughts, even if we don't ever act out on them. Even if we don't ever think we behave badly, we probably do more than we realize."

I try to research or make up for myself what happened in any character's life. From when he was born until the first page of the script. I fill in the blanks.

My idea of an actor is to be different persons with different roles. Every time a script interests me, I look for interesting characters because I intend to completely transport myself into it. This happens only because I am a very greedy actor. I am not part of the rat race because I am living a dream.

The person you are (in total, at that moment in time) is what creates the story you're writing. It's infused in every piece of punctuation, in the plot, in the most minor character who crosses the page. It's all your voice.