A Quote by Adam Grant

People often believe that character causes action, but when it comes to producing moral children, we need to remember that action also shapes character. — © Adam Grant
People often believe that character causes action, but when it comes to producing moral children, we need to remember that action also shapes character.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
Action is only really compelling when it reveals character - character revealed through action, and not action for its own sake.
Unless the will is free, man has no freedom; and if he has no freedom he is not a moral agent, that is, he is incapable of moral action and also of moral character.
The centre of the tragedy, therefore, may be said with equal truth to lie in action issuing from character, or in character issuing in action.
I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
It seems pretentious to assume that we are not creatures of action. I think often it takes a situation of extreme absurdity, extreme action, to push us to the limits of what our character is, and to change us as people.
Joe and I always say that our guide through action is always story and character. We're always driving right at the character beats, or else the action beat doesn't work.
The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.
You can't really do a big character in an action film; you're already suspending your disbelief in the action, then to suspend your disbelief in the character is too much.
I love action films. I'd love to do an action drama. I'm always looking to give my character something action-oriented to do.
I still don't understand why the tag of 'action hero' follows me. My films have all these elements - romance, action and comedy. None of the fight sequences of my character is an act of randomness. There's a reason to action in my films.
[Action's] a Western thing. We think of the hero going into battle, rebelling against a government or an oppressor, but [in KUNDUN] action is nonaction or what appears to be nonaction. That's a hard concept for Western audiences. . . . We wanted to show a kind of moral action, a spiritual action, an emotional action. Some people will pick up on it; some won't.
The ultimate foundation of honor is the conviction that moral character is unalterable: a single bad action implies that future actions of the same kind will, under similar circumstances, also be bad.
The essential thing is action. Action has three stages: the decision born of thought, the order or preparation for execution, and the execution itself. All three stages are governed by the will. The will is rooted in character, and for the man of action character is of more critical importance than intellect. Intellect without will is worthless, will without intellect is dangerous.
I watch action movies, and you don't remember when Jason Statham does a kick or punch. It's character trait stuff you remember.
Honestly, when you think of any great action hero or any great hero out there or great character actor, you kind of transcend the character. You just don't love the character, you love the guy. In any of the great action stars, you see the guy doing the work.
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