Character Quotes - Page 468

Your reputation is what you're perceived to be, Your character is what you really are

Don't measure yourself by what you have accomplished, but by what you should have accomplished with your ability. Do not let what you cannot do interfere with what you can do. Be more concerned with your character than with your reputation. Your character is what you really are while your reputation is merely what others think you are. Failure to prepare is preparing to fail.

Be more interested in character than reputation

It took thrift and savings, together with tremendous character and vision, to make our nation what it is today. And it will take thrift and savings, together with constant ingenuity and stamina, to conserve our remaining resources to enable us to continue to be a great nation.

I couldn't function if I weren't allowed to stretch and do really different characters where I can change the whole "beingness" of that person. That's my pleasure in acting and has been since I was a kid. That's always been my pleasure to create complete characters.

I do feel fortunate in that I am probably allowed more often to be a character actor then most actors are allowed to be, and I don't take that lightly or superficially at all. I mean, I really do appreciate it.

I was always a character actor, basically, that sometimes looks like a leading man.

A state of things in which a large portion of the most active and inquiring intellects find it advisable to keep the genuine principles and grounds of their convictions within their own breasts, and attempt, in what they address to the public, to fit as much as they can of their own conclusions to premises which they have internally renounced, cannot send forth the open, fearless characters, and logical, consistent intellects who once adorned the thinking world.

The doctrine called Philosophical Necessity is simply this: that, given the motives which are present to an individual's mind, and given likewise the character and disposition of the individual, the manner in which he will act might be unerringly inferred: that if we knew the person thoroughly, and knew all the inducements which are acting upon him, we could foretell his conduct with as much certainty as we can predict any physical event.

The prevailing tendency to regard all the marked distinctions of human character as innate, and in the main indelible, and to ignore the irresistible proofs that by far the greater part of those differences, whether between individuals, races, or sexes are such as not only might but naturally would be produced by differences in circumstances, is one of the chief hinderances to the rational treatment of great social questions, and one of the greatest stumbling blocks to human improvement.

A person whose desires and impulses are his own - are the expression of his own nature, as it has been developed and modified by his own culture - is said to have a character. One whose desires and impulses are not his own, has no character, no more than a steam-engine has character.

Customs are made for customary circumstances, and customary characters.

All women are brought up from the very earliest years in the belief that their ideal of character is the very opposite to that of men; not self-will, and government by self-control, but submission and yielding to the control of others. All the moralities tell them that it is their nature to live for others; to make complete abnegation of themselves, and to have no life but in their affections.

... what is really inspiriting and ennobling in the doctrine of freewill, is the conviction that we have real power over the formation of our own character; that our will, by influencing some of our circumstances, can modify our future habits or capabilities of willing.

Characters can become boring. That's what's tricky about television. It goes on and on - you're playing this same character for five seasons and it gets easy to fall into just walking on the set and assuming you know how to play a scene.

Viewers can hate a character and at the same time can't take their eyes off of him.

I never actually do rehearsals. That's one of the reasons that I write those bios and if I can meet with the actors I'll meet them or talk to them on the phone. What I want is for them to come on set knowing their lines and knowing who the character is.

I don't write [screenplay character] biographies beforehand. I usually go in knowing some sequences: this is where I want to start, this is where I want to end.

The hardest thing about movie acting is that if you're playing a character who changes within the movie, you've got to do that, but you've got to do it out of sequence, because we never have gotten to shoot in sequence, and that's really, really tough.

You cannot have good architecture merely by asking people's advice on occasion. All good architecture is the expression of national life and character; and it is produced by a prevalent and eager national taste, or desire for beauty.

We are only advancing in life, whose hearts are getting softer, our blood warmer, our brains quicker, and our spirits entering into living peace.

Architecture concerns itself only with those characters of an edifice which are above and beyond its common use.

When people come in the door and they have something, discovering and exploring the character is a real joy.

To be an actor for 30-odd years trying to become recognized, and to end up playing a full prosthetic and a character 3 foot 9′, or something like that, is... well, it just shows that you can get actors to do anything.

This mode of electioneering suited neither my taste nor my principles. I thought it equally unsuitable to my personal character and to the station in which I am placed.