A Quote by Chuck Norris
You can always tell a person's real character and personhood by those who closely surround him, especially if they're family.
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A person who keeps always his profile down-to-earth doesn't have to worry with those who surround or who to go around for he is likely to get only those who are of his ilk and the real worth on the ground.
I'm more of an actor than a boxer really. That's what I do in my life. I'm inspired by those real people that surround me: my family... I always say that I don't have friends, only brothers, and that's it. That's why I'm always real and free because I'm inspired by the people that trust me, and who I trust in. We are just free when we are together.
I always tell myself that when you're playing a character, pretend they're on trial and you're giving the best witness of their life. You really need to think about every element of the character and represent them properly, as if they were a real person. You want to give 100 percent of what they're worth and what they deserve as people.
There is not a hint of one person who was afraid to draw near him [Jesus]. There were those who mocked him. There were those who were envious of him. There were those who misunderstood him. There were those who revered him. But there was not one person who considered him too holy, too divine, or too celestial to touch. There was not one person who was reluctant to approach him for fear of being rejected.
To know the true nature of a person unknown, just see closely and correctly the character of known people who truly like him or her.
I ask questions. I watch the world. And what I have discovered is that the parts of my fiction that people most tell me are 'unbelievable' are those that are most closely based on the real, those least diluted by my imagination.
I love Jon Hamm. I'm so lucky to get to work with him and work so closely with him. We have a lot of these scenes that are very intimate, and very tender. Those are the kind of things that an actor lives for. Real moments of connection with other actors.
The person is a mystery. What I'm playing is the person so I really get to tell you and show you and communicate to you who I think the real person is and that real person is me. The most important thing is to play the human being you are creating, which is my job.
We talk about characters in literature as though they were built on the model of the real person, but then I often think that the way we present ourselves as real people is based heavily on the way literary psychologies are stylized, and I wonder how the two forms of realistic personhood feed on or fulfill each other.
Watch people do their most common actions; these are indeed the things that will tell you the real character of a great person.
Not every character that you play is going to be somebody that you like or love, but every character that you play has a story that is worth telling. If you're not the person to tell it, that's one thing. But if you don't want to tell it because you are afraid of the unpopularity of the character, I view that as a missed opportunity.
If you surround yourself with the wrong people, if you surround yourself with people that constantly tell you how great you are and never tell you the truth and just tell you what you want to hear, I would imagine it would be very easy to get above yourself.
I think my deepest criticism of the educational system . . . is that it's all based upon a distrust of the student. Don't trust him to follow his own leads; guide him; tell him what to do; tell him what he should think; tell him what he should learn. Consequently at the very age when he should be developing adult characteristics of choice and decision making, when he should be trusted on some of those things, trusted to make mistakes and to learn from those mistakes, he is, instead, regimented and shoved into a curriculum, whether it fits him or not.
I think that'll always be there for [Clint] Barton, right? You have real life, and then you have fight life. And that's the character that I love now - discovering that in him makes him a very sort of accessible Avenger. That'll always be there, I'm sure. And it certainly plays in this one.
A Dickens character to me is a theatrical projection of a character. Not that it isn't real. It's real, but in that removed sense. But Sherlock Holmes is simply there. I would be astonished if I went to 221½ B Baker Street and didn't find him.
When you look at Michael Jackson, there's nobody who loves him in that family, nobody. If they did, they'd tell him he didn't have to do all that in order to be famous. All he has to do is keep doing his music and be himself. Michael's been a little touched for about 20 years, but somebody needs to pull him aside and tell him they love him.
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