A Quote by Susan Orlean

Who on earth is going to use 'utilize' in a text message, a whopping seven characters including the always-hard-to-type 'z,' when you can say the exact same thing in three characters? I can't think of a sentence in which 'use' can't replace 'utilize.'
A thing I do with all my characters is I break them down into one of three things: mind, heart, and groin. I figure out where they come from and what they utilize most.
A lot of guys just punch with their arms; they don't utilize every part of their muscles they can use. I know how to use that, and that's where the power comes in.
Why say 'utilize' when you can say 'use'?
The nature of acting is that one is many characters and jumps from one skin to another as a way of life. Sometimes it's hard to know exactly what all of your characters think at the same time. Sometimes one of my characters overrules one of my other characters. I'm trying to get them all to harmonize. It's a hell of a job. It's like driving a coach.
There are many bad things in this world of ours, but the use of the word 'monetize' has to rank high among them. Also, 'incentivize.' Actually, all the '-ize' words, like 'contextualize' and 'utilize' and 'prioritize.' And - this is almost too horrible to type - 'juniorize.'
Obviously I'm fast, and I'm going to have to utilize that speed, but I'm also going to have to be smart. I'm also strong, and I have a punch, so I'm going to have to use all my qualities to be able to fight against Angulo, and I just feel whoever's the best prepared that night is going to win.
Guinevere is not the Morgan type, where she's sultry and she knows she has this incredible female energy that she can use and utilize, and she's not necessarily used to having this power over men.
Creating characters is just another way to express a type and put that type to use.
So, it's a delicate thing, but at the same time our producers and writers are very much aware of the potential downfall that could ensue so I think they're going to be very careful about how they do that. At the same time I don't think they want to leave the characters in the same holding pattern that they've been in for a while. I think that they're all trying to put the characters in a different situation.
So when I write characters and situations and relationships, I try to sort of utilize what I know about the world, limited as it is, and what I hear from my friends and see with my relatives.
Obviously, the highest type of efficiency is that which can utilize existing material to the best advantage.
I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.
It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.
Use a screwdriver instead of a hammer. Try to untighten the nut with your hand. Utilize the path of least resistance first.
The characters I've played, especially Bret Maverick and Jim Rockford, almost never use a gun, and they always try to use their wits instead of their fists.
As a filmmaker, I really want to utilize the tools to carry the voice - my voice, and the voice of the characters.
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