Top 487 Villains Quotes & Sayings - Page 7

The [media] coverage is always, "Will [Democrats] get it? Will they get what they want?" And, really, it's even worse than that. It's not, "Will they get it?" It's "How soon will they get it, and what are the villains gonna do to try to stop them from getting it?"

The blacklist was a time of evil...no one on either side who survived it came through untouched by evil...[Looking] back on this time...it will do no good to search for villains or heroes or saints or devils because there were none; there were only victims.

I don't know whether I see it as slipping inside the villains, but part of what makes Ralph Nader and Michael Moore such effective speakers and communicators is that they know how corporate culture works, how our lawmaking bodies really work, and where the bones are buried.

There is a dark side in all of us. And for us 'bad' people, the bad side dominates. I think there is a great sadness in villains, and I have tried to put that across. We cannot stop ourselves doing what we are doing.

If somebody comes up and says, "[Barack] Obama was born in Kenya," the story becomes, "Will Obama succeed in refuting this charge and then can we make these villains making the charge look like reprobates?" No examination of the allegation or examination of the issues.

Villains are always the best roles, but that meant that for months afterwards, all I got offered were absolute cads and bounders and really nasty pieces of work, as well as a lot of people who only had one arm. Such is the limited imaginative power, you see, of a great many casting directors.

Spider-Man is a genuine American myth with a dark, primal power, but it's also got this great superhero, and - hey! - he can fly through the theater at 40 miles an hour. It's got villains, it's got skyscrapers, it's colorful, it's Manhattan. I knew it would be a challenge, but I saw the inherent theatricality in it, and I couldn't resist.

Some people are cowards... I think by and large a third of people are villains, a third are cowards, and a third are heroes. Now, a villain and a coward can choose to be a hero, but they've got to make that choice.

I am convinced that the majority of people to-day have good, generous feelings which they can never know, never experience, because of some fear, some repression. I do not believe that people would be villains, thieves, murderers and sexual criminals if they were freed from legal restraint.

The villains have turned into heroes. The heroes have turned into heals.

As a person navigating the waters of public scrutiny, you are often unable to hold on to personal heroes or villains. Inevitably you will meet your hero, and he may turn out to be less than impressive, while your villain turns out to be the coolest cat you've ever met.

And I think that when I play these villains, maybe what is different is that the audience sees me play these and they know that that's Chris and he's having fun and he knows that and he knows that and you know that and everybody knows that.

Our discontent begins by finding false villains whom we can accuse of deceiving us. Next we find false heroes whom we expect to liberate us. The hardest, most discomfiting discovery is that each of us must emancipate himself.

I really enjoy playing villains, whether they're realistic like Switchblade Sam or whether they're a bit more over-the-top like Kruge in 'Star Trek III' or Judge Doom in 'Who Framed Roger Rabbit.' It's sort of a license just to be as bad as the script allows you to be - you can just go for it and have fun.

One thing that's happened to me is I've been around a long time and I've played a lot of villains and so forth. I think it had to do with, well one thing is that I looked younger than I was for a long time. Now I think I'm suddenly starting to play people's father.

I've got everything against likable characters. Likable characters are usually completely forgettable, and we don't really care. I think we love villains... precisely because they show us these disturbing complexities that I don't think nice characters do.

Having wallowed in a delightful orgy of anti-French sentiment, having deplored and applauded the villains themselves, having relished the foibles of bankers, railwaymen, diplomats, and police, the public was now ready to see its faith restored in the basic soundness of banks, railroads, government, and police.

I have a little bit of a pet peeve about how the middle class is depicted in movies. I feel like they tend to be either depicted in a very sentimental way, where everybody has a heart of gold except for the villains you're supposed to hiss at, or there's a sort of indie-style version... When it's done well, it's brilliant, it's 'Blue Velvet.'

Will Hillary [Clinton] survive or will the villains...? [James] Comey and the FBI and the Republicans, will they succeed? There isn't any coverage of whether or not Hillary actually broke the law. The media's not interested in whether or not she actually trafficked in classified data.

I didn't expect to feel pathos for the villains in our show. I feel quite moved in several of our episodes; I never realized that a show like 'Motive,' which aims for a broad appeal, could have that sort of emotional impact.

I loved comic books. I loved Miss Marvel. I talk about Harley Quinn all the time because I think playing villains is so much more fun than playing the good guy because who wouldn't want to go to work and just be crazy?

I got to playing villains-I don't know how. I think it's like anything else, in the movies in particular that if you establish yourself as something and you're lucky enough to keep getting hired. You know, there are guys who play the guy who gets the girl, guys who are the best friend of that guy, there's the funny guy, the villain.

Villains are usually the worst casuists, and rush into crimes to avoid less. Henry VIII. committed murder to avoid the imputation of adultery; and in our times, those who commit the latter crime attempt to wash off the stain of seducing the wife by signifying their readiness to shoot the husband.

Mr. Trump, like too much of the church, offers little more than an excuse to project complex problems onto simple villains. Yet the white working class needs neither more finger-pointing nor more fiery sermons.

I'm not a historian, and I wouldn't want to be. I want to change the world. Attack the elite. Overturn the hierarchy. Look at my stories and you'll notice that the villains are always, always, those in power. The heroes are the little people. I hate the establishment. Always have, always will.

If you look in real life, it is very hard to describe people as good people, bad people, heroes or villains. People aren't bad people. They all have their justifications.

Joss Whedon said to me, 'If you think you are taking over the show, you have got another think coming.' He said, 'You are here only because I don't want to kill a villain off every week. I want my villains to be more interesting and multifaceted and then die.'

Heroes aren't supposed to do bad things. That's what villains are for. So either the good supersedes the bad, or the bad makes it impossible to remember the good. We don't like it when such duality exists in one person. We don't want to know our heroes are human.

I enjoy playing villains - I'm very proud that I belong to a very honorable tradition of British actors who come to Hollywood to play the bad guys. At some point in American film, I think there was the idea that the British accent had a tone to it that's a little bit naughty.

Shakespeare villains were extraordinary. Macbeth, Iago, Richard III... They're so richly layered that a British actor would find it almost impossible to create a two-dimensional villain, if he's explored in his early years or continues to explore his Shakespearean heritage. You can almost not judge them, if they're played really well.

There's some of these villains that are just crazy and they do it just to do it. Then you got The Joker, who says he's an agent of chaos and he comes back in different forms every time, comes back to fight Batman he's a different character, different guy.

I had real plans for my next decade and felt I'd worked hard enough to earn it. Will I really not live to see my children married? To watch the World Trade Center rise again? To read - if not indeed write - the obituaries of elderly villains like Henry Kissinger and Joseph Ratzinger?

I was always fascinated by the Torah, the Bible, in terms of story telling: heroes and villains, morality and flaws. There's no better epic. Also, being part Latin and Jewish means I have a sense of the theatrical. There were always a lot of people in my house. My home was always filled with a lot of storytellers.

I think the best villains are ones that you can look at and say, 'Yeah, he's obviously going about this the wrong way or going too far or whatever, but I can see where he's coming from.' Magneto's a great example of that, and the reason he and Charles Xavier can have such great conversations is that they can both make some good points.

I always felt like Azula and Long Feng were much more interesting villains and three-dimensional characters than Ozai, who was just sort of a big jerk. Like a really big jerk, but not very complex or human.

Perhaps this is what we mean by sanity: that, whatever our self-admitted eccentricities might be, we are not the villains of our own stories. In fact, it is quite the contrary: we play, and only play, the hero, and in the swirl of other people's stories, insofar as these stories concern us at all, we are never less than heroic.

When you're writing for a game - even if you're using very well known characters like Batman and his villains who lend themselves to many different interpretations - you have to keep in mind that you're writing for a different medium. Things are a bit more straightforward than it is for a feature film or a TV show.

The Model Sanctuary is not about self-indulgence - it's about reminding and allowing them to become self-sufficient human beings. I wanted to alert people to the fact that we're not the victims, but nor are we the villains. We want fair practice and positive, sustainable change, working with the fashion industry, not against it.

I think all villains have something in common: they have something that they need or want very, very badly. The stakes are very high and they are not bound by moral codes or being ethical, so they can do anything and will do anything to get what they want.

When I decided to crop what was left of my hair, I thought, 'It's all over. I'm never going to work again: it's basket weaving me for me from now on.' But what actually happens is your casting changes: you suddenly start to get a lot of villains and coppers and soldiers and even the odd sensitive vicar - you become institutionalised.

Attempting to satisfy the passions that rage inside us and the longings that motivate us, we invent spirituality, lean on political solutions, create new villains, turn our backs on Jesus, and blame a thousand tyrannies- but we never come to terms with the source of the problem deep within the heart and inclination of every human being.

People are much more complicated in real life, but my characters are as subtle and nuanced as I can make them. But if you say my characters are too black and white, you've missed the point. Villains are meant to be black-hearted in popular novels. If you say I have a grey-hearted villain, then I've failed.

Proving that the best villains have the charisma of a hero, (Jason) Statham makes a strong impression, supplying the kind of menace that permeates the movie even when he's not on screen. His fight with (Dwayne) Johnson doesn't have the bang you'd expect from a The Transporter versus The Rock match-up, but the climactic Statham-(Vin)Diesel battle more than delivers.

The idea that all Israelis are villains is a childish idea. Israel is the most deeply divided, argumentative society. You'll never find two Israelis that agree with one another - it's hard to find even one who agrees with himself or herself.

Both villains and heroes are a bit boring, really, unless they're flawed and broken somehow. If they're not flawed and broken, then clearly they need to be broken and made flawed. That's what an author does if he or she has any dignity.

I can be a teddy bear, but more people tend to see me as the other side of the coin, and that has to do with casting, more Iago than Hamlet. But I don't play villains; I play people doing the right thing for the circumstances and time.

Why can't I ever play a nice, normal, salt-of-the-earth type? Is there something I should know? It's fun to play villains and character roles, of course - but I'm sure it's also fun to be a really big star and play the lead in everything, where all you have to do is show up and not blink.

I always tried to play the bad guys as guys who didn't know they were bad guys. There are villains we run into all the time, but they don't think they are doing anything wrong. If they do, they think they are cunning and smart. When people break laws and ethical rules, they justify it in their own terms.

I am a method actor, but I'm also a film actor as well as a method actor. Characters that don't have humility, whether they are heroes or villains, are hard to relate to. All characters in every aspect of what we do should have humility. If they don't, then they're a cartoon character.

To me, the more interesting villains are the ones you can, in some sense, relate to or sympathize with at times. Maybe you sympathize with them one moment; the next moment, they do something truly atrocious, and you feel bad you ever sympathized with them in the first place.

We have a lot of villains in the world, all right? And the Catholic doctrine says turn the other cheek, the Christian doctrine. But if you turn the other cheek, you could be annihilated. So when is it justifiable to defend yourself and take aggressive action in that regard, like dropping drones on people?

And the men who loan money to governments, so called, for the purpose of enabling the latter to rob, enslave, and murder their people, are among the greatest villains that the world has ever seen. And they as much deserve to be hunted and killed (if they cannot otherwise be got rid of) as any slave traders, robbers, or pirates that ever lived.

I generally play villains once every three or four years by choice because I get offered villainous roles a lot, because of the way I look and whatever. And I tend to avoid them because I think you can end up in a cul-de-sac of your own making if you're cast in that.

I am a feminist. I'm trying to show the relationships between men and women, always the structural relations, not individual villains. I'd never make a husband a villain. I try very hard in my work not to - because if I made one man a villain, the rest would be off the hook. I'm interested in the system of oppression.

I love everything. I love being the empathetic characters. I love being the villains. I think it's like when we're kids, we like to play all kinds of crazy characters and dress up.

One of the things about having played a lot of villains is... I don't have the same experience of someone who maybe has been a leading man since they were 22 and therefore looks at certain things in a character to romanticize themselves. I actually very much embrace the bad stuff.

Evil is relative - and what I mean by that is that our villains are as complex, as deep and as compelling as any of our heroes. Every antagonist in the DC Universe has a unique darkness, desire and drive. And the reason for being of 'Forever Evil' is to explore that darkness.

I had a sympathetic role in 'thirtysomething,' and in two weeks I'm going to do the role again. But in the movies, I just love the heavies. It's much more fun. Villains are a ball. People have been laughing at me for 50 years, so I love to sit in the back of the theater and listen to them hate me.

Soap opera seems to be a dirty word, but actually they are the most popular shows we have. People want to know what happens next, people hate the villains and love the lovers. It's good, fun TV. But I wouldn't call 'Downton' a soap opera as such.

September did not want to feel for the Marquess. That’s how villains get you, she knew. You feel badly for them, and next thing you know, you’re tied to train tracks. But her wild, untried heart opened up another bloom inside her, a dark branch heavy with fruit.