Top 1200 Evil Characters Quotes & Sayings - Page 20

We may draw good out of evil; we must not do evil, that good may come.

One never knows enough about characters in real life to put them into novels. One gets started and then, suddenly, one can not remember what toothpaste they use; what are their views on interior decoration, and one is stuck utterly. No, major characters emerge; minor ones may be photographed.

It is one of the sternest judgments confronting a human being after death that insofar as he is himself evil, he can see only what resembles himself because he can reproduce in his own being only the physiognomy of other evil people.

Our music is honest. We are who we are... messed up, dysfunctional sinners that have been loved in spite of our hate. We don't deny that we live in a evil world and that we have been evil people and we have evil tendencies... but we also have touched righteousness through our faith in Christ.. and we have received salvation, hope, and love... So our songs always acknowledge this truth and in turn we hope they bring faith, hope and love into the midst of the selfish, fearful hatred that makes up so much of the world we live in.

A little background: Annabeth used to adventure with Hermes's son Luke. Over time, Annabeth developed a crush on Luke. As Annabeth got older, Luke developed feelings for her, too. Luke turned evil. Hermes blamed Annabeth for not preventing Luke from turning evil. Annabeth blamed Hermes for being a rotten dad and giving Luke the capacity to become evil in the first place. Luke died in war. Hermes and Annabeth blamed each other. Confused? Welcome to my world.

Human history is not the battle of good struggling to overcome evil. It is a battle fought by a great evil struggling to crush a small kernel of human kindness.

Choice is the essence of ethics: if there were no choice there would be no ethics, no good, no evil; good and evil have meaning only insofar as man is free to choose.

You must see with eyes unclouded by hate. See the good in that which is evil, and the evil in that which is good. Pledge yourself to neither side, but vow instead to preserve the balance that exists between the two.

Governing a large country is like frying a small fish. You spoil it with too much poking. Center your country in the Tao and evil will have no power. Not that it isn't there, but you'll be able to step out of its way. Give evil nothing to oppose and it will disappear by itself.

'Reversible Errors' is about the limits of the law to define who committed ultimate evil, to define what ultimate evil is, to allow the million arbitrary factors to make this a meaningful punishment, and finally to say, 'Are we really accomplishing what we wanted to accomplish? Are those anxieties relieved?' I don't think so.

I like the idea of a TV show. You take time to get to know your characters. You can introduce a lot of characters. You don't need your three-action set pieces that you usually need for movies.

I live intimately with my characters before starting a book. I cut out pictures of them for my wall. I do time lines for each major character and a time line for the entire novel: What is going on in the world as my characters struggle with their problems?

I think you have to love the characters that you write. I don't know how you could possibly write a TV show where you didn't love the characters.

Well, that's the great thing about indie film, in general. If it's not subject to the constraints of too much pressure from the studio or marketing, and all of that, you get to actually present fuller characters and you get to have the dark side of the characters. That's usually what gets cut out.

The modern view of criminal justice, broadly, is that public concern with morality or expediency decrees expiation for the violation of a norm; this concern finds expression in the infliction of punishment on the evil doer by agents of the state, the evil doer, however, enjoying the protection of a regular procedure.

I do not choose characters because I think, 'Wow, that woman is so strong.' I chose these characters with utmost conviction because I think they were realistic enough to exist, and I really liked the scripts.

I tend to use a lot of movement in both camera and characters, and I also tend to give characters a lot to physically do.

When you find out there is no ultimate good and evil in which you can place your faith, the world does not fall apart at the seams. It simply means that every decision is more difficult, more critical, because you are creating the good and evil yourself and they are very real.

There are dodgy characters in Bitcoin. But there are dodgy characters in cash, too.

The word 'hero' has been bandied about a lot to refer to anyone killed in Afghanistan or Iraq. But anyone who voluntarily goes to Afghanistan or Iraq [as a soldier] is fighting for an evil cause under an evil commander in chief.

Just as I’ve always known there are monsters in the world, monsters and things even more evil, I’ve always known that it is God who keeps evil at bay.

Consider the problem from the point of view of evil, evil being almost always pleasure's true and major charm; considered thus, the crime must appear greater when perpetrated upon a being of your identical sort than when inflicted upon one which is not, and this once established, the delight automatically doubles.

Your characters are always your children. And while you are writing, you're keeping them safe. Now they're ready to go into the world and it's sad. I'm happy with the way the novel came out but all the characters' ending really saddened me.

I don't consider myself a competition to anyone. There is ample space for everyone here. When there are directors who create characters for me, why should I feel bothered or insecure? When it comes to updating myself, I work very hard to relate to the emotions of characters I play.

One of the things that I like about 'Narcos' is that not only Pablo but with all the characters - this is not a black and white show. This is not a regular American cop show where two cool cops go to save a country from a bad guy. All the characters are very complex.

Evil has always been there; it's always a part of us. Evil is no big surprise. But what about the people who gave freely, who stood up for human dignity? Even in the most extreme and terrible situations, these acts of dignity existed. And for me, that is the banality of good.

Good masters teach good doctrine, but that taught by evil masters is wholly evil.

When I'm writing a novel, one of the things I do is get big poster boards. They're actually canvases that artists use. And I keep all the characters' names on them. If you write a big novel, there's a lot of characters.

Characters are incredibly important, but I tend to build them around the plot during the outline stage. However, once I'm writing the manuscript, the characters I'm writing dictate how the plot unfolds.

Characters with no integrity are just as interesting as characters with lots of integrity.

Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.

I suppose it's possible that a writer would have feeling for his characters, but I can't see how, because writing is such a meticulous, intricate, technical business. I wish I could say that I love my characters and that frequently they take over the book and run away with the plot and so on. But they don't exist.

When I realised that what I do really well is play women who are tough and vulnerable, it was a moment of clarity. Many female characters either have one trait or the other, but I play both. I don't need to play characters who are like me. I can just do that with my life.

Sufis teach that we first must battle and destroy the evil within ourselves by shining upon it the good within, and then we learn to battle the evil in others by helping their higher selves gain control of their lower selves.

If I'm playing a bad guy, and I'm playing him evilly - I'm making him evil; I'm being evil because I want the audience to understand that he's bad - or if I have a line that's funny, I do it in a comedic way, that, to me, is a lie. It's dead when I watch it.

For, were it not good that evil things should also exist, the omnipotent God would almost certainly not allow evil to be, since beyond doubt it is just as easy for Him not to allow what He does not will, as for Him to do what He will.

I always found growing up that, even inspiring female characters or complex female characters in TV and film... I often found that their complexity was actually just another facet of their sexuality.

The secret at the heart of 'The Memory Keeper's Daughter' is something everybody, except for some of the characters, knows in Chapter 1. Some of the narrative tension comes from that distance between what the readers know and what the characters know.

I don't really pity any of my characters. I hold my characters under a harsh fluorescent lamp and ask "Who are you?" I'm not doing their makeup or giving them hairdos. They present themselves to me as they are and then I let them say what they want. Usually they're saying something too honest.

I couldn't function if I weren't allowed to stretch and do really different characters where I can change the whole "beingness" of that person. That's my pleasure in acting and has been since I was a kid. That's always been my pleasure to create complete characters.

We must recognise that duty and morality vary under different circumstances; not that the man who resists evil is doing what is always and in itself wrong, but that in the different circumstances in which he is placed it may become even his duty to resist evil.

One of the things when you write, well the way I write, is that you are writing your scenario and there are different roads that become available that the characters could go down. Screenwriters will have a habit of putting road blocks up against some of those roads because basically they can't afford to have their characters go down there because they think they are writing a movie or trying to sell a script or something like that. I have never put that kind of imposition on my characters. Wherever they go I follow.

I watched 'Evil Dead' when I was 12. I was going through all the horror I could grab. I remember going to the video store and asking for something 'real.' And the guy gave me the 'Evil Dead' VHS. When you're 12, you're not supposed to see that.

Triviality is evil - triviality, that is, in the form of consciousness and mind that adapts itself to the world as it is, that obeys the principle of inertia. And this principle of inertia truly is what is radically evil.

There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.

While I've written in the POV (point of view) of adolescent characters before... I never have had to create novels in which those characters not only drive the plot, but also are instrumental in resolving whatever issue the plot deals with.

The substance of the universe is obedient and compliant; and the reason which governs it has in itself no cause for doing evil, for it has no malice, nor does it do evil to anything, nor is anything harmed by it. But all things are made and perfected according to this reason.

I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.

I'm just trying to write a good story, strictly from imagination. People just think it's random, they don't see the rewriting, phrasing of characters, choosing the words, bringing the world to light in which the characters live in. That creates an illusion that this is real.

You must learn that if you are a Christian, you will without a doubt experience all kinds of opposition and evil inclinations in the flesh. For when you have faith, there will be a hundred more evil thoughts and a hundred more temptations than before.

I usually always think of characters and sometimes the characters are a little bit invented, so it's nice to give these invented, blurry, personas an actually name. It makes me get closer to them or something like that. But they're not all real, they're weird amalgamations of reality.

The characters are whole, real people to me that I'm getting to know, and since real people are all flawed, so are my characters, I hope.

Once we assuage our conscience by calling something a "necessary evil", it begins to look more and more necessary and less and less evil.

But she wondered why beautiful things had to be wrapped up with evil history. Or was it the other way around? Maybe the evil history made it necessary to build beautiful things, to mask the darker aspects.

What I like and find liberating in dialogue comedy is that the characters, and what they say, are not me. These are fleeting thoughts and observations and not presented as truths but as something that illuminates the character and the dynamic between the characters. This kind of dialogue is thesis and antithesis - and we never get to a synthesis.

You should work extra hard to be your best selves. True evil has a hard time operating in the face of strenuous manifestations of good. Especially if you act right away. The longer you let evil hang around and get a grip on you, the harder it is to get rid of it.

Where destruction is the motive, unity is dangerous. For example, if I have evil intent and I galvanize that evil intent with many others, the capacity to destroy is immense. Where goodness is the motive, unity is phenomenal and actually has some good issues to it.

If you're looking at my other major science fiction roles - the Doctor on 'Star Trek' and certainly Woolsey on 'Stargate' - I often play characters that might be good theorists and good thinkers, but you wouldn't call either of them very macho characters.

Frank Sobotka in 'The Wire' on HBO was one of the greatest characters I've ever played. They cut his throat at the end of that season. There's something about creative coupling that seems to go with great characters, and the fact that you can never play them again once you're done.

I've met so many fans of daytime television who've watched the shows with their moms and grandmas and feel like they've known the characters their whole lives. It's sad for them to have to say goodbye to their favorite soaps and characters. We don't want that to happen to the 'Days' fans.