A Quote by Friedrich Nietzsche
If a man has character, he has also his typical experience, which always recurs.
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Whoever has character also has his typical experience, which returns over and over again.
I liked the idea that my character was not gonna be the typical dumb guy that I play, typically. I also loved the fact that it was dealing with kind of adult-extended adolescence, which I think is always interesting - a bunch of people that don't wanna grow up.
It may be that just as tonality recurs in music and realism in painting, so the idea of liberalism recurs in politics-though each time in a different vein.
Expeditions can greatly contribute towards building strength of character. Joseph Conrad in Lord Jim tells us that it is necessary for a youth to experience events which 'reveal the inner worth of the man; the edge of his temper; the fibre of his stuff; the quality of his resistance; the secret truth of his pretences, not only to himself but others.
It took me a long time to square with the fact that none of my experiences are typical - I'm not a typical American, but I'm also not a typical Muslim.
He is also handsome," replied Elizabeth, "which a young man ought likewise to be, if he possibly can. His character is thereby complete.
As a man falls out of favour and his wealth declines, we discover for the first time the ridiculous aspects of his character, which were always there but which wealth and favour had concealed.
The idea of eternal return is a mysterious one, and Nietzsche has often perplexed other philosophers with it: to think that everything recurs as we once experienced it, and that the recurrence itself recurs ad infinitum! What does this mad myth signify?
A man is what he is, not what men say he is. His character no man can touch. His character is what he is before his God and his Judge; and only himself can damage that. His reputation is what men say he is. That can be damaged; but reputation is for time, character is for eternity.
But what man does out of despair, is not necessarily a key to his character. I have always thought that the real key is in that which he seeks for his enjoyment.
Just as a husband cannot be indulgent of adultery in his wife, so also God cannot and will not endure infidelity in us. What would we think of a man or woman who does not experience jealous feelings when another person approaches his or her spouse and threatens to win his or her affection? We would regard such a person as deficient in moral character and lacking in true love.
A man's character is like his house. If he tears boards off his house and burns them to keep himself warm and comfortable, his house soon becomes a ruin. If he tells lies to be able to do the things he shouldn't do but wants to, his character will soon become a ruin. A man with a ruined character is a shame on the face of the earth.
The craft with which the world is made runs also into the mind and character of men. No man is quite sane; each has a vein of folly in his composition, a slight determination of blood to the head, to make sure of holding him hard to some one point which Nature has taken to heart.
Symbols are specific acts or figures, while myths develop and elaborate these symbols into a story which contains characters and several episodes. The myth is thus more inclusive. But both symbol and myth have the same function psychologically; they are man's way of expressing the quintessence of his experience - his way of seeing his life, his self-image and his relations to the world of his fellow men and of nature - in a total figure which at the same moment carries the vital meaning of this experience.
When I saw the script [of The Man], I saw the character and knew I could do the character. It's a relationship movie, which is also what I love to do. That's what attracts me to projects.
One of man's important mistakes, one which must be remembered, is his illusion in regard to his I. Man such as we know him, the 'man-machine,' the man who cannot 'do,' and with whom and through whom everything 'happens,' cannot have a permanent and single I. His I changes as quickly as his thoughts, feelings and moods, and he makes a profound mistake in considering himself always one and the same person; in reality he is always a different person, not the one he was a moment ago.
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