Top 1200 Personality And Character Quotes & Sayings - Page 19

If there's anything Trollope novels always take seriously, it is money - how it flows from one character to another, how it is managed, who has it, who deserves it, and what it means to a character, male or female.

Most famous artists are created by their work and the idea of them as a character, and if they're smart and ambitious, they reinforce that character because they want to win. They want their views to prevail.

Worship is accomplished with the life as well as with the words and attitudes of people. Changed and transformed lives testify to the character and supernatural power of the God of heaven. Closeness to Him produces changes in character and holiness.

The clothes, the shoes, the gold belts and the necklaces always click me into the character, for sure. You could not feel the character, and then you put on the shoes and get the walk.

Lee Dam is a character who expresses her feelings honestly. I thought we had a lot in common and I've always wanted to play a confident character like her.

We're all the heroes of our own stories. So, when I am inside the head of a character who would otherwise be considered a villain, I have a great deal of affection for that character and I'm trying to see the world and the events through their eyes.

The baseline character in a lot of Western literature is a man. So we, as women, do a lot of suspending of our disbelief to experience a novel or a play or a movie through that male character.

I have a great fondness for any character I work on. Whether it's somebody like Batman or Harley Quinn or whatever character I'm writing, I just really enjoy the heck out of it, and I try to do the best job I can with it.

There are ugly aspects to every single person's character. In being truthful, actors do have to show the ugly side of someone's character. We all behave like dicks sometimes.

I want to look at this character from all points of view. I know I don't want to make them all good or all bad or all anything... the story itself often helps create the character.

My hope is that people will be repulsed by the character's complete lack of ethics and obsession with consumerism - that's what I was saying about the difference between the character's message and the film's message.

Specifically, we talked about making the character of the prince not so charming, at least in the beginning, and I'm playing around with the preconceptions attached to a character. That's really what intrigued me as well because I thought it would be fun to do it.

I honestly do think that every character - you pick up the things, little things that you like about them in your life. Especially if you play a character for a long time.

My size has helped make me an amazing performer too. The cliche of the Funny Fat Friend: I absolutely was that character - I am that character... It's a complicated bag of tools I acquired, and I've put them all to work onstage.

At Second City and improvising at iO, you're creating a character in an instant. All of a sudden, you're creating this history and this past for your character, and you're discovering it while you're doing it, and that's part of the fun of it.

I suppose the underlying current for me is the idea of not doing something I've done before. I call myself a character actor and I'm always trying to stay a character actor.

I would really like it if someone knows me more for a character that I've played. If they call out the character's name instead of mine by mistake, it would be lovely.

My job has always been to not only make my character look like a badass but to also make the actor I am fighting opposite to be the character they need to be too.

I focus on characters as individuals with attitudes and write each scene from a particular character's point of view. That way, even narrative passages take on the character's sound. I don't want the reader to be aware of me, writing.

What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.

You have to make a choice, and you have to commit to a character. You're either a babyface or a character that the fans relate to, support, love and aspire to be, or you're not. And if you're not, you're a heel: you're despicable, and they need to learn to love to hate you.

What sometimes goes on in all sorts of Christian institutions is not formation of people in the character of Christ; it's teaching of outward conformity. You don't get in trouble for not having the character of Christ, but you do if you don't obey the laws.

I think you have to find the humanity in the character and then the deterioration is a part of the process - the journey of the character. It's like playing King Lear. You can start off as a nice old man who finishes up crazy.

Superman is the hardest character to draw. There are a couple of things that make him difficult. He's got a very simple costume and doesn't have the long cape like Batman. He's not a character that is necessarily always in shadow, and he doesn't have a mask.

I really felt good after working in a film like 'Piku,' as many people could relate to my character. I got letters from my fans telling me how my character resembles to their grandparents.

A man is what he is, not what men say he is. His character no man can touch. His character is what he is before his God and his Judge; and only himself can damage that. His reputation is what men say he is. That can be damaged; but reputation is for time, character is for eternity.

There are just times when your body and your soul feed into a character and you somehow meet at the point where that character truly lives in you. It happens in plays, in TV, in films.

When you're on screen with Mads, there's some real fireworks because your character is his intellectual equal. In a way, maybe your character has an instinct as to who this man really is.

I don't approach my character in a set pattern. I want to get into the skin of the character. I don't love Manoj Bajpayee; I love all my characters. And that is why people today remember all my roles.

First and foremost, stepping into something like a Marvel project is insane. I mean, my character is from 1968, and she's the second female X-Men ever. It's exciting, but it's also a great amount of pressure to do right by the character.

I wouldn't want to play a character that knew everything and knew where to go. It is much more interesting playing a character that is vulnerable trying to be strong. It makes for better TV.

Acting is very much like a child making believe. I'm not one to become a character, but I fall in love with the character. It's like having faith; you're going to be that person for a while.

Knowledge is essential to conquest; only according to our ignorance are we helpless. Thought creates character. Character can dominate conditions. Will creates circumstances and environment.

When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.

It's important to fight for your character but at the same time realize there's a bigger picture involved and, you know, this is a character that's shared by everybody. It's not just purely your own.

In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.

My social media is very strict to my character and I've disabled comments on a lot of things because why would the Aleister Black character care about comments?

All I try to do is as earnestly and as acutely as I can, conceive a character and try to portray this character just honestly. If the humor is within the absurdity and the awfulness of situations, then let it be seen that way.

Man is concentric: you have to take fold after fold off of him before you get to the centre of his personality. You must get below his animal nature, habits, customs, affections, daily life, and sometimes go away down into the heart of the man, before you know what is really in him. But when you get into the last core of these concentric rings of personality you find a sense of the infinite-a consciousness of immortality linked to something higher and better.

It's all about creating a back story for the character and developing emotional responses that are true to life in relation to the character. It isn't necessary to live a tragic life to create from that place.

A song in a musical works best when a character has to sing - when words won't do the trick anymore. The same idea applies to a long speech in a play or a movie or on television. You want to force the character out of a conversational pattern.

My sense of myself is that I'm a character actor, and character actors are ready, willing, and able to do anything, to be totally different from themselves. That's my job, to be ready. I'm some kind of first responder.

Character is far more important than intellect in making a man a good citizen or successful at his calling- meaning by character not only such qualities as honesty and truthfulness, but courage, perseverance and self-reliance.

I feel like the scripts were so wonderfully written in the sense that my character in '1666' and my character in '1994' mirrored each other in a really nice way. They're both so strong, empowered, determined, and passionate.

I didn't sit around thinking, 'I'd love to play Luke Cage,' but when the character was presented, I did my research, and I was just like, 'This is a real gift. He's a great character, and I'm happy to have a chance to take a crack at him.'

Character starts with the alphabet. Letters: words: sentences Character is a function of language—a collection of errors and deviations that resonate with certain behaviors. As with every other element in fiction, it is a record of a writer’s decisions.

Life experiences help in understanding the character. And many things come to your mind regarding the character sketch when you read the script as many times as possible.

I spent a lot of time playing in miserable places that were not a lot of fun. Somebody once said it is character building and I was like: My character is just fine.

The Shadow is a moral problem that challenges the whole ego-personality, for no one can become conscious of the shadow without considerable moral effort. To become conscious of it involves recognizing the dark aspects of the personality as present and real. This act is the essential condition for any kind of self-knowledge, and it therefore, as a rule, meets with considerable resistance. Indeed, self-knowledge as a psychotherapuetic measure frequently requires much painstaking work extending over a long period of time.

I guess every character has a little bit of the actor - I guess for every character you play, the actor has to allow a little bit of their own character to show through.

People are not afraid of death, they are afraid of losing their separation, they are afraid of losing their ego. Once you start feeling separate from existence the fear of death arises because then death seems to be dangerous. You will no longer be separate; what will happen to your ego, your personality? And you have cultivated the personality with such care, with such great effort; you have polished it your whole life, and death will come and destroy it

I let the comedy come through the character and just try to make sure that everything is kind of rounded in a truth, in a reality, because that's what I need to make a character work.

It's always exciting to create a character that people can relate to, where people are like, 'Oh, I know this dude,' but maybe you've never actually seen this type of character on TV.

The "difficult" female character can-and will-do the shocking, the unexpected and, as a consequence, will give your story an immediate jolt of energy. She is the character who doesn't fit the mold.

There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.

A man's character is like his house. If he tears boards off his house and burns them to keep himself warm and comfortable, his house soon becomes a ruin. If he tells lies to be able to do the things he shouldn't do but wants to, his character will soon become a ruin. A man with a ruined character is a shame on the face of the earth.

I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one."

It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character. Then again, there is a huge gap between me as a person and what I do in the novel.

There's always that key to every character that lets you go to those places you need to go to. No matter how much you might hate the character, it makes you understand it.

The character truest to itself becomes eccentric rather than immovably centered, as Emerson defined the noble character of the hero. At the edge, the certainty of borders gives way. We are more subject to invasions, less able to mobilize defenses, less sure of who we really are, even as we may be perceived by others as a person of character. The dislocation of self from center to indefinite edge merges us more with the world, so that we can feel blest by everything.