Top 1200 Moral Character Quotes & Sayings - Page 18

With films it's not usually that I have a particular character I'm looking for; I'll read the character and my imagination will start spinning and I'll go, "Yes, definitely." I'm thinking it would be nice to keep challenging myself.

I try to look at every role the same way, regardless of whether the character is real or the character is a fantasy. I always start from myself, because you have to know yourself first.

I think it's hard to differentiate between your wrestling character and your real character - you kind of end up being both. I've always been my wrestling character in and out of the ring and in and out of the dressing room, and I was always really respected in the dressing room by the other wrestlers.

I can't negotiate and collaborate with a character to create a distilled dramatic investigation of the raw material. I need to work with an actor. That stuff about actors who stay in character all the time is nonsense.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.

Above all, do not give up your moral and political autonomy by accepting in somebody else's terms the illiberal practicality of the bureaucratic ethos or the liberal practicality of the moral scatter. Know that many personal troubles cannot be solved merely as troubles, but must be understood in terms of public issues and in terms of the problems of history making.

Eventually we got to a point where 'Riverdale' came along, and it was a character that was originally written white, and I saw this as an opportunity to take a classic American character and make them Asian.

For me, personally, I'm more comfortable with what I would call third-person entertainment, meaning watching a character that's explicitly not me and experiencing something through a character's eyes, than what I would call first-person entertainment, which is a video game in which I am the character.

If there is no struggle, there is no progress....This struggle may be a moral one; or it may be a physical one; or it may be both moral and physical; but it must be a struggle. Power concedes nothing without a demand. It never did and it never will.

If we empower ourselves with responsibility over our actions, responsibility over our destinies and responsibility for directing and maintaining and creating our own ethical and moral frameworks, which is the most important thing really isn’t it because perhaps the greatest insult to humanism is this idea that mankind needs a god in order to have a moral framework.

Be thankful that sometimes God lets you struggle for a long time before that answer comes. Your character will grow; your faith will increase. There is a relationship between these two: the greater your faith, the stronger your character, and increased character enhances your ability to exercise even greater faith.

Many people have written about the economic meaning of globalization; in One World Peter Singer explains its moral meaning. His position is carefully developed, his tone is moderate, but his conclusions are radical and profound. No political theorist or moral philosopher, no public official or political activist, can afford to ignore his arguments.

Every movie I work with the costume designer to see what feels like the character, not what Columbus would wear but what is right for the character. Outside of the armored truck standard issue security guard uniform, this guy is trying to make ends meet. He might have one pair of jeans, the same boot, maybe changes his shirt but he doesn't have a walk-in closet full of things, so I wanted something comfortable that felt like the character.

I'm an actor, I created the character myself originally. I do tell the fans I appreciate that they think he's real. It all finally comes down to the writers who really got the character and wrote so many memorable lines.

The American elite is almost beyond redemption. . . . Moral relativism has set in so deeply that the gilded classes have become incapable of discerning right from wrong. Everything can be explained away, especially by journalists. Life is one great moral mush--sophistry washed down with Chardonnay. The ordinary citizens, thank goodness, still adhere to absolutes.... It is they who have saved the republic from creeping degradation while their 'betters' were derelict.

I doubt that I could create a character I loathed simply because when a character takes life, it is impossible not to be a little amazed by the phenomenon, and to find that the amazement has something of the quality of delight.

One reason for the decline in moral values is that the world has invented a new, constantly changing and undependable standard of moral conduct referred to as "situational ethics." Now, individuals define good and evil as being adjustable according to each situation; this is in direct contrast to the proclaimed God-given absolute standard: "Thou shalt not!"-as in "Thou shalt not steal".

There is seemingly no biological benefit to acting with conscience; if there were, only moral individuals would survive and procreate. Sadly, we know that's not true. The benefit of conscience is that you won't suffer guilt (private) or shame (public), and that by your own self-imposed definition, you are a moral human, a special kind of animal who takes unique pride in elevating him/herself above the termites.

I need to be able to write a poem after every film and to kind of cleanse myself from the character because for about three months or so, I'm constantly living through the character's eyes.

The higher education so much needed today is not given in the school, is not to be bought in the market place, but it has to be wrought out in each one of us for himself; it is the silent influence of character on character.

We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.

The first thing I read was of my character on the phone talking to Sydney's fiance. Though short, it was so beautifully written, and it made me laugh. I thought if I wanted to play a character, this would be it.

What the world needs today is a definite, spiritual mobilization of the nations who believe in God against this tide of Red agnosticism. It needs a moral mobilization against the hideous ideas of the police state and human slavery. I suggest that the United Nations should be reorganized without the Communist nations in it. It is a proposal based solely upon moral, spiritual and defense foundations. It is a proposal to redeem the concept of the United Nations to the high purpose for which it was created. It is a proposal for moral and spiritual cooperation of God-fearing free nations. And in rejecting an atheistic other world, I am confident that the Almighty God will be with us.

Science is a magnificent force, but it is not a teacher of morals. It can perfect machinery, but it adds no moral restraints to protect society from the misuse of the machine. It can also build gigantic intellectual ships, but it constructs no moral rudders for the control of storm tossed human vessel. It not only fails to supply the spiritual element needed but some of its unproven hypotheses rob the ship of its compass and thus endangers its cargo.

Human character is just endlessly fascinating, and there is no character who is one thing any more than any one person is just one thing. As you work on a character, he/she is revealed more and more. That's what I continue to love about the work.

Moral theory develops from the divine command theory of medieval Christian philosophy, mixed up with a bit of ancient pagan virtue theory, to the purely secular moral sentiment and interpersonal reaction theories of Smith and Hume, to Kant's attempt to restore command theory but with something supersensible in the individual rather than God as the source of authority.

You have to be completely in the character, and that's so hard to do. That's why, when they call, 'Cut!,' you often feel yourself shift. Unless you're Daniel Day Lewis, who stays in character all the time, there's a switch that happens.

For Marvel, we've never looked at any of our characters in terms of gender, race, or religion. It truly is about, who is the best character for the story? If that character happens to be a woman, fantastic.

Every actor has his own approach towards acting. I believe you do not become the character you are playing. You may get closer to it but you do not lose yourself. There's just a reflection of the character in you.

Adversity is a crossroads that makes a person choose one of two paths: character or compromise. Every time he chooses character, he becomes stronger, even if that choice brings negative consequences.

The Villain wasn't necessarily something I sat down and thought, 'Oh this is going to be my character.' It's most like other great wrestling characters, where it's more of a reflection of my actual character.

Making a film of a work you've played for six weeks gives you intimate knowledge of the character. By the time you go in front of the camera you've worked out the behavior and life of a character.

Hence the sterile, uninspiring futility of a great many theoretical discussions of ethics, and the resentment which many people feel towards such discussions: moral principles remain in their minds as floating abstractions, offering them a goal they cannot grasp and demanding that they reshape their souls in its image, thus leaving them with a burden of undefinable moral guilt.

You know, I always got offered other stuff. Not the romantic leads, obviously. But very often it's a role that's underwritten, where the character has no personality at all. And they need a character actor who can fill it in.

'Fringe' is essentially a love story, so the scenes where Walter had close connection with Peter, but also with Anna's character or Jasika's character, were very special to me.

I would love to do an anthology show based on the character of Jesse B. Semple that Langston Hughes wrote about. He's sort of a Forrest Gump character in the midst of 20th century Harlem.

It would not be correct to say that every moral obligation involves a legal duty; but every legal duty is founded on a moral obligation.

I want here to make three suggestions: first, that the doubts the ordinary man feels about religion are justified, and need not be stifled or concealed; second, that there is no ground for the view that Christianity is the only alternative to communism, or that there can be no sound character training that is not based on religion; and, third, I want to make some practical suggestions to the parents who are not believers, on what they should tell the children about God, and what sort of moral training they should give them.

I'm an actor. I'll take a lead if it's offered. The really good actors can fill a character, no matter what the role is. A good leading man is a character actor; a good character actor can be a leading man.

It was seriously just a name. They didn’t tell you what to do. They didn’t tell you how they wanted the character to be - nothing. You went in to audition for this character name and that was it. When I started, before I came onto the set, I went to Gene Roddenberry and said: hey, what do you want from this guy? Who is he? And being as smart as he is, he said: don’t listen to what you’ve heard or read or seen in the past, nothing. Just make the character your own. And that’s what I did.

There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.

I am among those who believe that our Western civilization is on its way to perishing. It has many commendable qualities, most of which it has borrowed from the Christian ethic, but it lacks the element of moral wisdom that would give it permanence. Future historians will record that we of the twentieth century had intelligence enough to create a great civilization but not the moral wisdom to preserve it.

Every day we make our way through a moral forest, along pathways ever branching. Often we get lost. When the array of paths before us is so perplexing that we can't make a choice, or won't, we can hope that we will be given a sign to guide us. A reliance on signs, however, can lead to the evasion of all moral obligations, and thus earn a terrible judgment.

Obviously, when you're in theater, you have to be in character. You have to prepare for the unexpected. You have to be able to react to things that don't necessarily happen every night, or aren't supposed to happen every night. And you have to react to it in character. In six months, 192 shows, those things did happen. And the experience of that, the ability to stay in character, I feel like I've learned a great deal.

Whether a character in your novel is full of choler, bile, phlegm, blood or plain old buffalo chips, the fire of life is in there, too, as long as that character lives.

Character is something each one of us must build for himself, out of the laws of God and nature, the examples of others, and - most of all - out of the trials and errors of daily life. Character is the total of thousands of small daily strivings to live up to the best that is in us. Character is the final decision to reject whatever is demeaning to oneself or to others and with confidence and honest to choose the right.

Rather take that moral sense and apply it to the particulars of a job that is going to test those ethical and moral precepts differently than if you're a professor, or a business person, or a dad. And if I were not comfortable with the judicious use of our military to protect the American people, than I shouldn't have run for president. And having said that, I do think that the wisdom of a [Martin Luther] King or a [Mahatma] Gandhi can inform my decisions.

What I look for is identifying what the utility of a character is to the telling of the story overall. If I can identify that from reading the script, then I've got a clear idea of whether or not I think the character is worth playing.

The novel as a form is usually seen to be moral if its readers consider freedom, individuality, democracy, privacy, social connection, tolerance and hope to be morally good, but it is not considered moral if the highest values of a society are adherence to rules and traditional mores, the maintenance of hierarchical relationships, and absolute ideas of right and wrong. Any society based on the latter will find novels inherently immoral and subversive.

Achievement of your happiness is the only moral purpose of your life, and that happiness, not pain or mindless self-indulgence, is the proof of your moral integrity, since it is the proof and the result of your loyalty to the achievement of your values.

My approach to Pennywise was, on one hand, I wanted to stay true to the essence of the character but at the same time make it an edgier character that is basically unpredictable and people won't expect everything he comes up with.

People will talk about character arcs, but you look at the character arc of C-3PO from 'Star Wars' to 'Return of the Jedi,' and it's a complete 180... he's not so much of a coward and a fussbudget.

On the last day of every character I've ever played, I lay the clothes out on the floor with the shoes and socks, so that it looks like the character has literally vanished. That's the way you have to leave them.

I believe that all novels, ... deal with character, and that it is to express character – not to preach doctrines, sing songs, or celebrate the glories of the British Empire, that the form of the novel, so clumsy, verbose, and undramatic, so rich, elastic, and alive, has been evolved ... The great novelists have brought us to see whatever they wish us to see through some character. Otherwise they would not be novelists, but poet, historians, or pamphleteers.

I can honestly say Ive never thought for a second about whether a character reflects poorly on any group. All that matters to me is that the character is true to my belief in who he or she is.

My approach to the work is the same, whether I had the lead or a supporting role. I consider myself a character actor in the true sense of the word. Unless I'm doing my autobiography, I'm playing a character.

There is a natural disposition with us to judge an author's personal character by the character of his works. We find it difficult to understand the common antithesis of a good writer and a bad man.

. . . What role does historiography play in the way a society and culture "remembers" past events? Does the historian have a moral or civic responsibility to this project of memory that ought to influence the way he or she engages in historical practice? Should moral concerns influence the historian's choice of subject matter, of issues to discuss, of evidence to use?