Top 1200 Judge Of Character Quotes & Sayings - Page 20

To judge sins is the business of one who is sinless, but who is sinless except God? Who ever thinks about the multitude of his own sins in his heart never wants to make the sins of others a topic of conversation. To judge a man who has gone astray is a sign of pride, and God resists the proud. On the other hand, one who every hour prepares himself to give answer for his own sins will not quickly lift up his head to examine the mistakes of others.

If you go for an audition, you have a character description, and for the women, it's always about being beautiful, sexy. And for the men it's more about the character than how he appears physically. That annoys me.

The conflation of the simple in style with the morally prescriptive in character, and the complex in style with the amoral or anarchic in character, seems to me one of the most persistently fallacious beliefs held by English students.

I lost 90 pounds and my blood pressure went down to a normal level and the salt in my urine disappeared. And that was when I had to make the transition from fat character actor to thin character actor.

It's all about story and character with me, and I don't care if the job is on daytime or prime time or the web. Hey, give me a good character and someone to listen, and I'll do my acting on a street corner.

You want to be honest with a character and play it truthfully, and you want to be genuine with your character.

I play a character in the WWE and everybody hates my character. I'm the evil villain bad guy. Whenever people meet me, they're like, 'Wow, you're such a nice guy. We never expected that.'

The best writers are gravitating to that world. What's rewarding also is this: you have a two hour movie, you can't really delve into character that much. In a TV show you can. You can delve into character. You can get into nitty gritty.

I love working with new directors. There's so much drive and effort. It still comes down to the character for me, but if it's a character I really want to play, I would never not do the project because of a new director.

I try to think what the character is thinking. Then, hopefully, I begin to feel it. I act and react not because I'm recalling a dog killed by a fire engine, but because I'm concentrating on what the character is going through.

Episodic TV is notoriously brutal because just when you think 'I've got this, I know this character' you can pick up the script for series four and you die in the first episode - or your character suddenly transitions from a woman to a man.

Superman is such an old character. He's an old character with this huge legacy behind him. And one of the awesome things about the fact that he's been around for these decades is that he's gone through these different phases.

I am extremely excited to play the character of Akbar once again on BIG Magic's 'Naya Akbar Birbal.' There is no better feeling than knowing that your character is so loved by the audience.

The object of man's worship, whatever it be, will naturally be his standard of perfection. He clothes it with every attribute, belonging, in his view, to a perfect character; and this character he himself endeavors to attain.

I do not think that when I write a female character, I intend to reflect my thoughts on gender equality, but I always make sure that my female character is not decorative, they are human, they are good, bad, complex and close to reality.

I make out a play list for every character and buy the records they would listen to; it helps me find their personas. What they play, where they stay, who they lay, is my matrix for character development.

I have never been one of those actors who say, 'Oh, my character wouldn't do this,' or 'My character never wears an orange shirt,' or any of the number of inane things I've heard on movie sets throughout my career.

I don't choose parts. I choose filmmakers. I'm done trying to make a statement with a character. What happens is, I craft a performance from the beginning to the end of the character. Then I release it to the director, and he interprets what I gave him.

When it's a comedy or drama or horror or romance, it's all the same. You want to be honest with the character. You want to play truthfully and you want to be genuine with your character.

As an actor, when you want to capture the spirit of the character, and the character exists in all of the iterations slightly differently, you work towards getting a sense of what the creators wanted to do, you know? Then, you work off of that.

I always look for the character that gets into your guts and tells you, 'You have to play this.' You have to be brave enough to let everything else go and let the character guide you. When I read a script, I look for that kind of pull.

A doctrine-teaching, character-building university, the Brigham Young University is dedicated to the building of character and faith, for character is higher than intellect . . . . We are men of God first, men of letters second, men of science third, and noted men fourth, men of rectitude rather than academic competence. . . . Our academic training must be as impeccable as our lives.

There was a time when people were like, 'Oh my God, Sheamus' character is boring.' Well, when you're just in wrestling matches all the time, and you're not doing character stuff, then it can be a bit monotonous.

A person whose desires and impulses are his own - are the expression of his own nature, as it has been developed and modified by his own culture - is said to have a character. One whose desires and impulses are not his own, has no character, no more than a steam-engine has character.

I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.

The only thing that endures is character. Fame and wealth-all that is illusion. All that endures is character.

With acting, you have to become someone else. That's the fun part of it for me - to step outside of yourself and become a character. I guess being Jimmy Cliff is a little bit of a character, too.

A character has a distinctive voice - you should be able to hear them in your head and conduct a conversation with them while you're out walking. If the answers surprise you, you know it's the character speaking and not you.

I don't think my spirituality has affected my character. I feel like my character is much more cynical about his beliefs, and I think I have to kind of drop what I believe in order to play him.

Were not one thing, as human beings, so any character that is written uni-dimensional, thats just a shallow character with shallow writing and shallow acting.

Sometimes you'll see people give performances in comedy with an ironic detachment where they'll sort of be remarking on the character from outside of it. They're sort of commenting as they're playing the character. I think it's hard not to do that. I've certainly done that.

David Corbett's The Art of Character offers a deep inquiry into the creation of character for the novice writer, with valuable nuggets of wisdom for the seasoned storyteller. If you are a writer, it should be on your desk.

The advantage of being the creator of the character is I know them better than anybody, I like to think. But the reality one has to deal with in a serial collaborative medium like comics is that you're not the only one who writes the character.

There are scripts when you fall so much in love with your character. And if you are lucky and offered this part, you should not tempt your fate and go to the greatest extent to be/to play this character. If you have an opportunity to do that and you do not, it's shameful.

When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.

Sometimes you can incubate a character and that can take me a month just sitting on it imagining it, doing everything from sketching it to taking long walks, but sometimes you can see the character immediately. A lot of it is instinctive.

As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.

When 'Director's Kut' called me and asked to come for an audition, I went for it but there was no response for a couple of days. Then I got a chance to meet Rajan Shahi and discuss the character. I liked Pammi the moment I heard about the character.

When I'm writing Broadway, it's for a character, a man, a woman, an old guy, a kid. In the band, you're talking in your own voice in the lyrics, saying what you think or feel. On Broadway, you're expressing that through a character.

Somewhere in the back of my brain there exists this certainty: The body is no more than a costume, and can be changed at will. That the changing of bodies, like costumes, would make me into a different character, a character who might, finally, be alright.

May God save any country to remain in a position to choose between a genius of bad character and a stupid of good character, because both will bring disaster to that country!

Our character is basically a composite of our habits. Because they are consistent, often unconcious patterns, they constantly, daily, express our character.

The interesting thing about doing serial television is that the character is growing separate from you, the character and the show are growing, and you get to observe that and participate with it in a way that I think is actually really exciting for an actor.

Strength of character may be learned at work, but beauty of character is learned at home.

The more you spend time with a character, the more you see different nuances of that character.

I like Paul Ryan, and to a certain extent, I feel bad for him. But this is a moment of moral choice. And if he says that Hillary Clinton is worse than a openly racist, Muslim-hating misogynist who wants to build a wall to exclude Mexicans, who thinks that a judge, an American judge because of his Mexican lineage cannot be fair to him, if you`re saying that Hillary Clinton is worse than all that, then I just think that that just is ridiculous, it`s absurd, and it really starts to damage the speaker`s credibility.

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.

I approach things from my feeling first. I have to get a feel for the character. I'll do that through music; I'll do it through what is naturally popping up for me when I read the script. My ideas or whatever the occupation of the character might be.

There is more than enough 'Venom' to go around. Venom is a really huge character, and Hardy is an amazing actor, so there is plenty to mine just from Tom's performance, the character and the world he inhabits.

As an actor, I think it's always important to separate yourself from your characters because, when you include yourself in a character, you're taking a liberty that you don't really have unless you're life is that incredibly close to the character.

For example, the character of Claire in In Dreams wasn't imagined enough by me. Annette Bening is a great actress, and she gave a great performance, but because I hadn't fully written it essentially the character wasn't finished.

When I'm writing a comic book, I'm thinking about a character that I'm going to be drawing on the page. I've never drawn a character to look like who I want to cast in a movie because I don't think that way. I'm a real monomaniac. I do one thing at a time.

It doesn't matter if a character is a lawyer, a cop or a geography teacher. If there's a story in there, where the character has a passion and a fire in his belly and story to tell, then it's enough for an actor to get excited about.

Each character requires different language, and these issues become inseparable. You have all these balls in the air: language, character, narrative. For me, the primary focus must be words, sentences, paragraphs.

Tanveer is one character which people love to hate. I am overwhelmed by the reaction my character has garnered across various platforms, which gives me an assurance that my efforts have paid off.

You don't get character because you're successful; you build character because of the hardships you face.

I would have to say that I have to concentrate more when I'm doing comedy. There are so many details that make up any character, but developing a character for a dramatic role seems to come more naturally.

I must confess that the original 'Pretty Woman' was terrific and a hit, but I always felt that creatively I didn't do justice to Richard Gere's character. So in the musical, we have some great new moments for Richard's character.

You normally either get bitten by a character and decide that is the way to play it, and then that begins to inform everything you do, or you decide, 'I don't need to use much character in this - I have basically got to be me'.

Love and marriage are wonderful arenas in which to place a character. We are most likely to risk our morals and beliefs while in love. Betrayal gives tremendous insights into a character as well.