A Quote by Charlie Chaplin

My character of the Tramp, the millions of workers symbolized in that one figure. — © Charlie Chaplin
My character of the Tramp, the millions of workers symbolized in that one figure.
This is America. We must defend the principles symbolized by Lady Liberty - unless she's on the pill, in which case, she is a giant green tramp.
Voroshilov was a striking figure, with a great deal of influence among the workers, so that the degree of influence of the committee on the workers and its success as regards recruitment depended primarily on him.
When I'm acting, it's like I am the character - no one can talk to me. But I'm not so method I'd sell my house and live on the street to play a tramp.
Comedy comes from a place of hurt. Charlie Chaplin was starving and broke in London, and that's where he got his character 'the tramp' from. It's a bad situation that he transformed into comedic one.
There are millions and millions of products out there. You can look at eBay and Amazon. You can look at every product on the planet, but trying to figure out which one is best for you is really the challenge.
I thought he was an interesting central figure, central character, one who is definitely not your typical central character figure in a film, who's easy to like. He's not easy to like. It forces you to involve yourself with what's going on.
Our adversaries, numerous and formidable, will say, and will have the right to say, that our Principe CrÇateur is identical with the Principe GÇnÇrateur of the Indians and Egyptians, and may fitly be symbolized as it was symbolized anciently, by the linage...To accept this in lieu of a personal God is to abandon Christianity and worship of Jehovah and return to wallow in the styles of Paganism.
Winning takes character. Workers get the most out of themselves. When a body has limited talent, it must muster all its resources of character to overcome adversity.
When you hire Sam Jackson, he'll figure out the character, and he'll figure out the character's look, and he'll provide it to you. With Sam Jackson, you basically yell 'action', you go get a sandwich, and you come back and yell 'cut.'
You have to play the character in the best way you know how and do what you need to do in order to bring that character to life and not worry about the millions of people that you may be disappointing!
In my mind, public space travel will precede efforts toward exploration -- be it returning to the moon, going to Mars, visiting asteroids, or whatever seems appropriate. We've got millions and millions of people who want to go into space, who are willing to pay. When you figure in the payload potential of customers, everything changes.
Yesterday morning Facebook was temporarily offline, leaving millions of workers unable to do anything except their jobs.
It's a funny thing, 'The Office,' because millions and millions and millions and millions of people didn't watch it. But culturally, it is more of a phenomenon than almost anything else I can remember as far as British television is concerned.
Potter is potter's enemy, and craftsman is craftsman's rival; tramp is jealous of tramp, and singer of singer.
There's very little in the substance of [THE LADY IN THE VAN] which is not fact though some adjustments have had to be made. Over the years Miss Shepherd was visited by a succession of social workers so the character in the play is a composite figure. . . . A composite too are the neighbours, Pauline and Rufus, though I have made Rufus a publisher in remembrance of my neighbour, the late Colin Haycraft, the proprietor of Duckworth's.
We should absolutely train up U.K. workers - but it takes time to do that. And the reality is that there are a lot of E.U. workers that come here to do jobs that British-born workers will not do.
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