Character Quotes - Page 299

The elimination of individual capitalists and the replacement of private capitalism by state capitalism in Russia has not in the least altered the typical helpless and authoritarian character structure of the masses of people.

This is a landmark work in the history of African American studies and American intellectual history. Writing with verve, Jackson brings to life a large cast of characters and traces an ongoing conversation among the writers and critics of this period. This book is likely to become a model for a new generation of scholars, both for the breadth of its engagement and the depth of its archival research.

For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.

On Flash, I thought of myself as a spice character; come in, do a little dance, and I go.

I think it's necessary when you're dealing with a dark show that has explosion and violence to have defined moments of lightness and humor, even romance. It's important, and it deepens the character, of course.

You know, I've always wrote my best stuff when it takes me hardly any time at all. Actually I wrote.....this is actually a really funny story...'Ghost Of Vincent Price', I've been wanting to write a song about Vincent Price coz he's one of my favorite characters of all time.

The devil's characteristic has been to originate sin and tempt others to sin

You know, I'm from the South, and I wasn't interested in perpetuating a stereotypical southern character.

I really believe that when you're playing a character that everything is contained in the script. If I'm pulling from things from my own life, then I think I'm being disingenuous to the character and the story.

The absurdist is concerned with the search for meaning in the Universe. He believes this search to be meaningless--hence the disintegration of plot, character, and language in absurdist drama. Order is a falsehood that we, God, those who came before us, have imposed on a random universe. However, the absurdist is confronted with a curious paradox: though he believes the Universe to be meaningless, he cannot abandon the search for meaning--or he will die.

The lucidity of the battle narratives, the vigor of the prose, the strong feeling for the men from generals to privates who did the fighting, are all controlled by a constant sense of how it happened and what it was all about. Foote has the novelist's feeling for character and situation, without losing the historian's scrupulous regard for recorded fact. The Civil War is likely to stand unequalled.

Between ourselves and our real natures we interpose that wax figure of idealizations and selections which we call our character.

In our animation we must show only the actions and reactions of a character, but we must picture also with the action. . . the feeling of those characters.

Until a character becomes a personality it cannot be believed.

In most instances, the driving force behind the action is the mood, the personality, the attitude of the character - or all three. Therefore, the mind is the pilot. We think of things before the body does them.

I just make what I like - warm and human stories, ones about historic characters and events, and about animals. If there is a secret, I guess it's that I never make the pictures too childish, but always try to get in a little satire of adult foibles.

Towns are like people. Old ones often have character, the new ones are interchangeable.

You can never know enough about your characters

I have always loved and avidly read the novels of Jack London, Jules Verne and Ernest Hemingway. The characters depicted in their books, who are brave and resourceful people embarking on exciting adventures, definitely shaped my inner self and nourished my love for the outdoors.

On or about December 1910, human character changed.

Acting, it's the disappearance of self, disappearance of your own needs and your own wants and the kind of embracing of the character that makes it work.

I really think that the Jersey Boys musical - and this is just my opinion - lends itself to being cinematic in some way, because its a jukebox musical; the characters break into song only for the scene transitions.

We live in an age fit for heroes. No time has ever offered such perils or prizes... The test of this century will be whether man confuses the growth of wealth and power with the growth of spirit and character.

I don't build character. I eliminate the people who don't have it.

It's always interesting to play a character that obviously has a secret.