Character Quotes - Page 277

[Joseph] Stalin closes the exposition of these [Leon Trotsky] ideas with the words, "Such are in general the characteristic features of [Vladimir] Lenin's conception of the proletarian revolution."

There should always be that leeway because if you think of your character as sort of absolutely fixed, then you just try and find actors to come and do exactly that thing, then you're not gonna be working with that actor's own set of internal impulses and who they are, so the best work is always a coming together of the actor and the character.

I think the first trick to writing a feminist work is to write plenty of women. That way you get to write characters, instead of worrying about paradigms.

I never make a film with a message in mind. I'm more interested in the characters; how they are related to each other and the situation they're in.

Even those who, like me, believe that Roe v. Wade and the decisions elaborating on reproductive rights were constitutionally correct must recognize that, for many on the right, the sudden and relatively sloppily reasoned character of the abortion rulings... did real damage to the Court's reputation as a relatively neutral arbiter of legal disputes.

I have undertaken, you see, to write not only my life, but my opinions also; hoping and expecting that your knowledge of my character, and of what kind of a mortal I am, by the one, would give you a better relish for the other: As you proceed further with me, the slight acquaintance which is now beginning betwixt us, will grow into familiarity; and that, unless one of us is in fault, will terminate in friendship.

Maturity involves two elements: 1) immediate obedience in specific situations and 2) long-range character growth.

The defining character of Steve Jobs isn't his genius, it isn't his talent, it isn't his success. It's his love. That's why crowds came to see him. You could feel that. It sounds ridiculous to talk about love when you are making a gadget. But Steve loved his work, he loved the products he produced, and it was palpable. He communicated that love through bits of steel and plastic.

My mother saw a movie when she was 14 years old. I forget the name of the movie, but one of the lead characters was named Lark. She decided then she would name me and she stuck to it, and here I am.

To produce things and to rear them, To produce, but not to take possession of them, To act, but not to rely on one's own ability, To lead them, but not to master them - This is called profound and secret virtue.

Struggles are a part of the sacred sanctification process. There are no soft or slothful ways to become sanctified to the point that we are prepared to live in the presence of the Savior. And there can be blessings in the burdens we bear. As a result of these struggles, our souls are stretched and our spirits are strengthened. Our character becomes more Christlike as we are tried and tested.

I have too much respect for the characters I play to make them anything but as real as they can possibly be. I have a great deal of respect for all of them, otherwise I wouldn't do them. And I don't want to screw them by not portraying them honestly.

I questioned everything. I didn't see a character developed in Platoon at all. The character in Blue Velvet was much more fascinating to me

Doing a film, or being sent scripts to look at a certain character, it's very odd for me. I tend to take it very personally.

I'm drawn to the classic antihero, the guy who's probably made a bunch of mistakes and really has the capacity to go either way. That's the most interesting type of character for me to watch, to see what decisions they'll make. There's a lot of gray area there for a writer to explore.

I can only play characters that I feel like are real people and in a complete way and in such a whole way that if I fake any aspect of it I will have failed them and literally they're slaughtered.

I always love costume, and I'm always heavily involved in how things should look. Or how they should feel really, because that's part of the way I suppose I get into character in some ways. It's a lot about costume.

I don't make movies about issues. This is my same litmus test for all the movies I love: Is it a great character on a great emotional quest with a great emotional need? Do they overcome great emotional obstacles? Is it a fantastic story? I didn't set out to be a political activist. I'm just a human being who's moved by certain things, and if certain things break my heart, I set out to fix them.

I have a lot of compassion for human beings in life experiences, so I allow myself to feel what these characters are feeling and don't have a problem accepting that.

If you say, "Woo, woo, woo!" to me, I'll say it back. I love it. "Woo, woo, woo" is something that my character used to say. It's something that my mother used to say to my brother and me when we were kids. When words would fail her, she'd just go, "Oh, woo, woo, woo." It's compassion. It's a combination of "I see you, I feel you, I acknowledge you, I got your back."

It's not like I don't want to play the guy next door. But sometimes they're not the best written or the most complicated. But I am very, very particular about my bad boys. There are certain types of characters I will not play. I've said no so many times to so many parts that are just way too dark. You have to be careful.

When you have characters talking about music in any way, especially about music someone doesn't know, some people presume it's about showing social capital and sneering at those who don't have it.

I'm not that complicated as an actor. I have a formula in which I work, yeah. But not like Sean Penn does. Sean is one of the few actors I know who can work like that, actually becoming the character he is playing, and get consistent results. I don't believe you can ever be someone else. You manifest different levels of your own personality to come up with a character.

The characters created cannot just be a mouthpiece for the writer. When you look at a piece of writing, and it's genuine and it doesn't feel like every character is just a mouthpiece for the writer, but that they've been created in such a way that they're expressing an idea that a writer wants to get across, that's when a story succeeds.

I can't judge the characters I play, because it's for the audience to do. What I can try to do is to understand and embody what were they going through? How did they make the decisions they made? That to me is a more interesting way to approach something, rather than saying this person is a villain and that person is this and - because it's not very interesting to play that anyway.