A Quote by Graeme Simsion

I watched as Humphrey Bogart’s character used beans as a metaphor for the relative unimportance in the wider world of his relationship with Ingrid Bergman’s character, and chose logic and decency ahead of his selfish emotional desires. The quandary and resulting decision made for an engrossing film. But this was not what people cried about. They were in love and could not be together. I repeated this statement to myself, trying to force an emotional reaction. I couldn’t. I didn’t care. I had enough problems of my own.
Maybe the best example of the unmuscled hero is Humphrey Bogart in 'Casablanca.' Bogart was 15 years older than Ingrid Bergman, and it did not matter at all. He had the experience, the confidence, the internal strength that can only come with age.
I wanted to make a film that wasn't just a biography. When you watched it, you actually felt that you watched a movie, that you had an emotional reaction. In order to do that, I felt that I had to really keep myself emotionally raw while working on the film. I had to feel myself crying, so the audience could be moved, too.
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.
I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.
The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.
If you will think about what you ought to do for other people, your character will take care of itself. Character is a by-product, and any man who devotes himself to its cultivation in his own case will become a selfish prig.
I want the young people to pay attention because, see, back when I first met Barack, we started dating, he had everything going for him. All right, ladies, listen to this. This is what I want you to be looking for. Yes, he was handsome-still is. I think so. He was charming, talented, and oh-so smart, truly. But that is not why I married him. Now, see, I want the fellas to pay attention to this. You all listening? What truly made me fall in love with Barack Obama was his character. You hear me? It was his character. It was his decency, his honesty, his compassion and conviction.
I watched horror movies way too young and one of my favorite horror movies was The Shining. Jack Nicholson's character in that just bore a hole in my brain, his weird, maniacal controlled stuff. Obviously Mara in Village of the Damned wasn't an alcoholic and didn't have emotional, crazy outbursts. She was very non-emotional. But it was that sort of evil that I was tapping into.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
Howard Hawks said he'd like to put me in a film with Cary Grant or Humphrey Bogart. I thought, "Cary Grant-terrific! Humphrey Bogart-yucch."
There were time when I was into method acting that I did have moments of residual character emotions, because the method bases your emotional responses as a character on emotional experiences from your real life.
[The] majority of the girls working there had major emotional problems. And not cries-too-much emotional problems; more like stabs-her-boyfriend-with-a-steak-knife-then-falls-into-a-corner-and-starts-whispering-to-herself emotional problems.
I made so many films which were more important, but the only one people ever want to talk about is that one with [Humphrey Bogart].
The beauty of the original monster movies is that you were able to relate to every single character, or even to treat their monstrosity as an emotional metaphor.
Depending on the year or the therapist he was seeing, he'd learned to ascribe just about every facet of his character as a psychological reaction to his parents' fighting: his laziness, his overachieving, his tendency to isolate, his tendency to seduce, his hypochondria, his sense of invulnerability, his self-loathing, his narcissism.
But at the same time, the commonplace statement about them is true: every character is the hero of his own story. Each has a justification for his actions that is convincing to him. It's fun to give these people voices.
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