Character Quotes - Page 525

Babies are born with neither good nor bad character. Normal people - as they grow, learn and are trained - develop better or worse dispositions and habits of conduct.

Life, whether in this world or any other, is the sum of our attainment, our experience, our character. The conditions are secondary. In what other world shall we be more surely than we are here?

Character has more effect than anything else. Let a number of loud-talking men take up a particular question, and one man of character, of known integrity and beauty of soul, will outweigh them all in his influence.

Once you're involved in the work, it's really just you and the characters and the words.

The man that makes a character, makes foes.

There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.

Remarkably, there's no green screen in 'Leaves of Grass' movie. There is motion control. Technically, there were all sorts of challenges, but really the soul of it is Edward Norton talent. You write these characters when you write a movie, and all you can hope for or depend on is that your actors will elevate the material.

What we set out to do with this movie [Leaves of Grass] was to create something that was funny and serious and had large tonal ambitions. A movie that could be poignant and funny, and suddenly quite violent. To have a character utterly sideswiped, and to learn that life is about balance.

I start to get fixated on a story and a character and an idea, and at a certain point, I really want to do it. It's a compulsion to explore a specific thing, as opposed to a compulsion to direct, generally speaking.

You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.

If Nick Broomfield never found anyone with affection for Courtney Love, it's only because he conspicuously avoided the countless friends, colleagues and fans who appreciate her talent and admire her as a person. But then, why would Broomfield have opened up his film to those of us who work with Courtney and are close to her when there are so many bitter left - behinds and desperate attention - seekers eager to validate his attack on her character? Inquisitors in every age, scared of forceful women, have used all kinds of half - baked testimony to whip up chants of 'Burn the witch!'

Few persons are made of such strong fiber that they will make a costly outlay when surface work will pass as well in the market.

It was natural that the direct wielders of the royal prerogative, men who sat in the Star Chamber and the Privy Council, who knew the secrets of the State and the necessity for prompt action, should despise the merely declaratory character of a good deal of Common Law process. To them we doubtless owe those four great pillars of Chancery jurisdiction, the injunction, the decree, the sequestration, and the commission of rebellion.

I think in Vice and American Me I played very silent, rigid characters and people remember them

That is many poets don't know how to tell a story and they don't have a sense of how to put things in order to tell a story and we thought the poets could learn from fiction writers something about developing a character over time who wasn't just you and also creating a narrative structure.

The poets needed to learn to pay greater attention to character and to narrative.

Fiction writers learn about the development of metaphor, the use of rhythm, the way that language is compacted in order to express the feelings of - express their own feelings and the feelings of their characters.

To the love of pleasure we may therefore ascribe most of the agreeable, to the love of action we may attribute most of the useful and respectable, qualifications. The character in which both the one and the other should be united and harmonised would seem to constitute the most perfect idea of human nature.

History has scarcely deigned to notice [Libius Severus's] birth, his elevation, his character, or his death.

Majorian presents the welcome discovery of a great and heroic character, such as sometimes arise, in a degenerate age, to vindicate the honor of the human species.

[We should] suspend our belief of every tale that deviates from the laws of nature and the character of man.

The orator, who may be silent without danger, may praise without difficulty and without reluctance; and posterity will confess that the character of Theodosius might furnish the subject of a sincere and ample panegyric. The wisdom of his laws and the success of his arms rendered his administration respectable in the eyes both of his subjects and of his enemies. He loved and practised the virtues of domestic life, which seldom hold their residence in the palaces of kings.

The pastoral labours of the archbishop of Constantinople provoked and gradually united against him two sorts of enemies; the aspiring clergy, who envied his success, and the obstinate sinners, who were offended by his reproofs. When Chrysostom thundered from the pulpit of St. Sophia against the degeneracy of the Christians, his shafts were spent among the crowd, without wounding or even marking the character of any individual.

But the human character, however it may be exalted or depressed by a temporary enthusiasm, will return by degrees to its proper and natural level, and will resume those passions that seem the most adapted to its present condition.

We stand in need of such reflections to comfort us for the loss of some illustrious characters, which in our eyes might have seemed the most worthy of the heavenly present. The names of Seneca, of the elder and the younger Pliny, of Tacitus, of Plutarch, of Galen, of the slave Epictetus, and of the emperor Marcus Antoninus, adorn the age in which they flourished, and exalt the dignity of human natures.