A Quote by Ted Baillieu

The core character of Victorians is one of aspiration and ambition, and Victorians have, since first settlement days... demonstrated that core character over and over again.
A great deal has been written about the forthrightness of the moderns shocking the Victorians, but there is no shock like the one which the forthrightness of the Victorians can give a modern.
If I'm really considering doing film from now on then that is the smart thing to do, or you can go either way. You can just do the same character over and over again and make a different comedy like over and over again.
The making of miracles to edification was as ardently admired by pious Victorians as it was sternly discouraged by Jesus of Nazareth. Not that the Victorians were unique in this respect. Modern writers also indulge in edifying miracles though they generally prefer to use them to procure unhappy endings, by which piece of thaumaturgy they win the title of realists.
The Victorians needed parody. Without it their literature would have been a rank and weedy growth, over-watered with tears.
It was the Victorians who covered the piano legs and drew a heavy curtain over what a lady got up to in her boudoir.
The elevation of appearance over substance, of celebrity over character, of short term gains over lasting achievement displays a poverty of ambition. It distracts you from what's truly important.
Your personal core values define who you are, and a company's core values ultimately define the company's character and brand. For individuals, character is destiny. For organizations, culture is destiny.
Yeah, Jacob transforms a lot in 'New Moon.' Not only physically, but mentally and emotionally as well. So it was a matter of getting to the gym and eating the right foods and a lot of it. But also, reading and studying the book and my character over and over and over again so I could have his character down as well.
If you're going to make a movie about a character who is a supervillain, it's fantastic to have a core sense of empathy for that character.
The characters are born from repetition, from repeatedly thinking about them. I have their outline in my head. I become the character and as the character I visit the locations of the story many, many times. Only after that I start drawing the character, but again I do it many, many times, over and over. And I only finish just before the deadline.
So I should be aware of the dangers of self-consciousness, but at the same time, I’ll be plowing through the fog of all these echoes, plowing through mixed metaphors, noise, and will try to show the core, which is still there, as a core, and is valid, despite the fog. The core is the core is the core. There is always the core, that can’t be articulated. Only caricatured.
My father wasn't a cruel man. And I loved him. But he was a pretty tough character. His own father was even tougher - one of those Victorians, hard as iron - but my dad was tough enough.
I'm character-driven. If it's a great character and something different; because I find that a lot of the times you do get pigeon-holed, you do get the same characters over and over again because that's what producers are comfortable with. They've seen you do it, they know you can do it. I'm kind of getting a little stir crazy.
When I'm given a role, I'm consumed by a passion to bring to life a character that exists only on paper. I mull over the character for days and internalise his feelings.
Just look at the history of cinema. The most reproduced male character is probably the hero and the most reproduced female character is probably the sex object. I think those stereotypes have been reproduced over and over again. It also changes our expectations when it comes to a situation like this in real life.
Each pattern describes a problem which occurs over and over again in our environment, and then describes the core of the solution to that problem, in such a way that you can use this solution a million times over, without ever doing it in the same way twice.
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