Character Quotes - Page 266

It was such an interesting character and the film really explored his friendship with Bond and how it all went wrong, so it was a very personal journey for both characters.

I have an obsessive character. I manicure my nails at three in the morning because nobody else can do it the right way. Maybe that's the secret to my success.

One of the characteristics of kitsch is precisely the neutralization of 'extreme situations', particularly death, by turning them into some sentimental idyll.

But a man's character is his fate... and in the end there isn't any way to disguise the nature of the knocks by acoustical work on the door or gloving the knuckles.

I am an American, Chicago born – Chicago, that somber city – and go at things as I have taught myself, free-style, and will make the record in my own way: first to knock, first admitted; sometimes an innocent knock, sometimes a not so innocent. But a man's character is his fate, says Heraclitus, and in the end there isn't any way to disguise the nature of the knocks by acoustical work on the door or gloving the knuckles.

I really like directors who give you a certain amount of autonomy because I think a lot about my characters and I think a lot about scenes and choices.

Aria: I went to Hollis. Because I was looking for...you know. Her. She was teaching an art class, so I ran inside, grabbed a paintbrush, and painted a scarlet A across her chest. You know, like that woman in The Scarlet Letter? It was awesome. She didn't know what hit her. And then I said, 'Now everyone will know what you've done'. Ella: Do you realize that Hester Prynne is supposed to be a sympathetic character?

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

I want to continually play characters that speak to me, but also are different than what I've just done.

It is not eminent talent that is required to ensure success in any pursuit, so much as purpose-not merely the power to achieve, but the will to labour energetically and perseveringly. Hence energy of will may be defined to be the very central power of character in a man-in a word, it is the Man himself.

What we are accustomed to decry as great social evils, will, for the most part, be found to be only the out-growth of our own perverted life; and though we may endeavor to cut them down and extirpate them by means of law, they will only spring up again with fresh luxuriance in some other form, unless the conditions of human life and character are radically improved.

Example teaches better than precept. It is the best modeler of the character of men and women. To set a lofty example is the richest bequest a man can leave behind him.

Character is undergoing constant change, for better or for worse--either being elevated on the one hand, or degraded on the other.

Home is the first and most important school of character. It is there that every human being receives his best moral training, or his worst; for it is there that he imbibes those principles of conduct which endure through manhood, and cease only with life.

I'm a character actor and that's what I do. All the roles that I've had have been mainly support roles, because character actors don't usually get the lead in movies. It rarely happens.

Average Jones had come by his nickname inevitably. His parents had foredoomed him to it when they furnished him with the initials A. V. R. E. as preface to his birthright of J for Jones. His character apparently justified the chance concomitance. He was, so to speak, a composite photograph of any thousand well-conditioned, clean-living Americans between the ages of twenty-five and thirty.

The great thing about the show [ Dirk Gently's Holistic Detective Agency] is that there is so much more to be revealed. There are questions about what each of these characters actually know, and nothing is what it seems.

It's also very important to make sure that the main character and the player are completely in synch.

It's a little bit like talking about the life of writing. The life of writing may be about many things, but it always begins with the writer. With the kernel of an idea, or a character, or an idea or a theme, or even an outcome. But for documentary photographers, photographs begin at that intersection of the real world and the imaginative inner world.

Nobody ever recognizes themselves unless they are not the character. There are many people who have claimed to be in my books, but unfortunately they were usually people that I didn't know.

When you lose the story that's running like a golden stream underneath all the other stories, you're left with the idea that the Bible is a collection of random-seeming stories about various Bible characters that we're supposed to learn lessons from - almost like an Aesop's Fables. And a book of rules that God wants us to keep so he will love us. And we lose the glorious truth of the Bible that we were loved before even the beginning of time. That God had a plan. That no matter what, he would never stop loving us.

The benefit of writing a collection - as opposed to a novel - is that I'm able to have some version of the war in each story without having to comment on its all-encompassing nature. Turn the page and here are new characters and new situations, but the war remains... Isn't that how life has been for us for over a decade?

But it's hard for me to pinpoint where all my characters and dialogue come from - imagination or real life. My memoir, of course, was all about my past, and many of the short stories cleave very closely to my life, but the more stories I wrote in the collection, the more that seemed to be invented, but who knows... I think I'm writing about a young woman with acne who shoplifts, but I'm really writing about myself.

Whether it's a guy living in an airport like Viktor Navorski in The Terminal, or Anvil in Toronto, or Alfred Hitchcock who's imprisoned by his success; there is a common thread to all these characters. I don't know why I'm particularly drawn to it. It's been pointed out to me, and I don't understand it myself.

I think I think in the moment. So when I'm in character, I'm in character, and I'm obviously thinking about what's going on around me, but it's easier to do stuff when you're in character.