Character That Goes Quotes & Sayings

Why should every single character be an honor student who goes around helping others and never doing anything wrong? Is that like the rule or something? — Mike Judge

Providing accurate portrayals of characters is something I want to pay ample attention to. If I don't stick to that thought, then we'd have to lower the quality or break the balance of the game. Something that goes way off spec could break the entire game. — Masahiro Sakurai

Leadership consists of nothing but taking responsibility for everything that goes wrong and giving your subordinates credit for everything that goes well. — Dwight D. Eisenhower

I had been thinking a lot about how the media has created this complex, fictionalized cartoon version of me, you know, this man-eating, jet-setting serial dater who reels them in, but scares them off because she's clingy and needy; then she's all dejected, so she goes into her lair and writes a song as a weapon. I mean, man, that's pretty intense. And I started thinking about what an interesting character that person is. And, if I was that person, what would my life motto be, my mantra? What would I say? I think I'd own it. — Taylor Swift

When there's characters out there that don't have humor, I don't find them as believable, because we all have humor, no matter what level it is, we all use it every day, no matter what situation we're in, we'll try and have a bit of a laugh even if it goes wrong. — Rhys Darby

I write what I can. I think being able to write like Michael Connelly and have a character that goes from novel to novel, or to dramatize history like Vidal or Ellroy, or have an explosively inventive mind like Bulgakov, would be an incredible thing. I don't have that. I only have what I have. — Henry Rollins

As actors, sometimes we want our character to go somewhere different than it goes, but that's being an actor. — Holland Roden

There's a kind of acting that goes on in my head when I'm writing a character where I put myself in their place. — Jeffrey Eugenides

I like a character that goes on a journey. A character that has had it all, lost it all, and is trying to get back to just being OK. I love the agony of defeat just as much as I love the thrill of victory. — Jessie Pavelka

Our life evokes our character. You find out more about yourself as you go on. That's why it's good to put yourself in situations that will evoke your higher nature rather than your lower. — Joseph Campbell

Sometimes, comics will make the observation that it's not jokes that are funny, it's characters that are funny. And isn't that true! That's why I always kill jokes. I'm terrible at them, because I get the joke right, but I can't get the character right, and it just goes down like a lead balloon. — David Mitchell

There's a button that goes On and I'm On. And when I go On, there is almost no me; there is just a character who is doing all this. — Gisele Bundchen

Well, you know, what's better? To play a character who stays stuck in the same baggage year after year, or to play a character who gets beyond that and goes to a new level? — Andreas Katsulas

I always say - a prejudice on my part, I'm sure - you can tell a lot about a person's character from his choice of sofa. Sofas constitute a realm inviolate unto themselves.
This, however, is something that only those who have grown up sitting on good sofas will appreciate. It's like growing up reading good books or listening to good music. One good sofa breeds another good sofa; one bad sofa breeds another bad sofa. That's how it goes.
There are people who drive luxury cars, but have only second- or third-rate sofas in their homes. I put little trust in such people. An expensive automobile may well be worth its price, but it's only an expensive automobile. If you have the money, you can buy it, anyone can buy it. Procuring a good sofa, on the other hand, requires style and experience and philosophy. It takes money, yes, but you also need a vision of the superior sofa. That sofa among sofas. — Haruki Murakami

To make the improving of our own character our central aim is hardly the highest kind of goodness. True goodness forgets itself and goes out to do the right thing for no other reason than that it is right. — Lesslie Newbigin

The writer by nature of his profession is a dreamer and a conscious dreamer. He must imagine, and imagination takes humility, love and great courage. How can you create a character without live and the struggle that goes with love? — Carson McCullers

It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while. — Cliff Chiang

Frequently over the years, people have thought that they know me. Every character actor has this story, I'm sure. It goes like this: 'Um, do you play soccer?' 'Did you go to such and such church?' 'I knew you when you were with so and so ... ' Then I go, 'Well, sorry ... ' and then they say, 'Wait a minute. Are you an actor?' — Beth Grant

Characters can become boring. That's what's tricky about television. It goes on and on - you're playing this same character for five seasons and it gets easy to fall into just walking on the set and assuming you know how to play a scene. — John Slattery

'In-between' is sort of - an animator does the key poses. He'll do extremes, you know, like a character reaching out for a glass of water and then another one of him drinking. And the in-betweener has to do all the drawings that goes between those two. You know it could be 12, 23 whatever in-betweens. — Pete Docter

Endings are never neat, because when life goes on, there is no end. You may want to speculate about what the characters get up to afterwards, but I feel it would be presumptuous of me to dictate that. — Stef Penney

But in our age of emptiness, tragedies are relatively rare. Or if they are written, the tragic aspect is the very fact that human life is so empty, as in Eugene O'Neill's drama, The Iceman Cometh. This play is set in a saloon, and its dramatis personae - alcoholics, prostitutes, and, as the chief character, a man who in the course of the play goes psychotic - can dimly recall the periods in their lives when they did believe in something. It is this echo of human dignity in a great void of emptiness that gives this drama the power to elicit the emotions of pity and terror of classical tragedy. — Rollo May

It was extremely difficult to suppress my emotions, because my character in' A Girl at My Door' goes through so many infuriating situations. It was a lonely process having to portray someone that acts tough but is deeply hurting inside and is unable to express that. — Bae Doona

When a story is flying along, and I'm so into it that my 'real' world goes away, it can feel magical. I cease to be, my desk and computer ceases to be, and I am my character in his world. Psychologists call this a 'flow state,' and it's better than publication, money, awards, fame. — Nancy Kress

Bring in the light and the evil goes in a moment. Build up your character, and manifest your real nature, the Effulgent, the Resplendent, the Ever-Pure, and call It up in everyone that you see. — Swami Vivekananda

No one goes through life thinking that they're the best friend of the lead character. — Laura Carmichael

It is how a person goes about quenching his desires or living with them unrequited that the readers get a glimpse of his true character. — Michael Connelly

Any character who goes after a desire and is impeded is forced to struggle (otherwise the story is over.) And that struggle makes him change. So the ultimate goal of the dramatic code, and of the storyteller, is to present a change in a character or to illustrate why that change did not occur. — John Truby

Because I know that my character is developed from my own acts and thoughts, I will guard with care all that goes into its development. — Napoleon Hill

We get a little further from perfection,
each year on the road,
I guess that's what they call character,
I guess that's just the way it goes,
better to be dusty than polished,
like some store window mannequin,
why don't you touch me where i'm rusty,
let me stain your hands — Ani DiFranco

Her first really great role, the one that cemented the "Jean Arthur character," was as the wisecracking big-city reporter who eventually melts for country rube Gary Cooper in Frank Capra's Mr. Deeds Goes to Town (1936). It was the first of three terrific films for Capra: Jean played the down-to-earth daughter of an annoyingly wacky family in Capra's rendition of Kaufman and Hart's You Can't Take It With You (1938), and she was another hard-boiled city gal won over by a starry-eyed yokel in Mr. Smith Goes to Washington (1939). "Jean Arthur is my favorite actress," said Capra, who had successfully worked with Stanwyck, Colbert and Hepburn. " ... push that neurotic girl ... in front of the camera ... and that whining mop would magically blossom into a warm, lovely, poised and confident actress." Capra obviously recognized that Jean was often frustrated in her career choice. — Eve Golden

Never far from a dining table, the characters in Heather A. Slomski's limpid and elegant debut collection are not given to melodramatics. Civility reigns, voices are not raised, much goes unsaid. But just beneath the sophisticated composure are longing, loss, heartbreak. And how intensely familiar is the table itself, which made this reader suddenly understand how much of our real life takes place there. Heather A. Slomski is truly a fresh voice on the scene, and The Lovers Set Down Their Spoons is that rare thing, a new book as innovative in its design as it is compulsively readable. — Jaimy Gordon

It's a fact, the majority of films in Hollywood are from the male perspective. And the female characters, very rarely do they get to speak to another female character in a movie, and when they do it's usually about a guy, not anything else. So they're very male-centric, Hollywood films, in general. So I think it's incredible that Ned Benson, when I said I'd love to know where she goes, says okay, I'm going to write another film from the female perspective. — Jessica Chastain

When I am writing I don't set a certain number of pages. I do know that the further into a script I get the faster it goes. As soon as you start making decisions you start cutting off all of the other possibilities of things that could happen. So with every decision that you make you are removing a whole bunch of other possibilities of where that story can go or what that character can do. So when I get maybe 2/3's of the way through I can see very clearly where it is going to go. — Steven Zaillian

I don't have any regrets," a famous movie actor said in an interview I recently witnessed. "I'd live everything over exactly the same way."
"That's really pathetic," the talk show host said. "Are you seeking help?"
"Yeah. My shrink says we're making progress. Before, I wouldn't even admit that I would live it all over," the actor said, starting to choke up. "I thought one life was satisfying enough."
"My God," the host said, cupping his hand to his mouth.
"The first breakthrough was when I said I would live it over, but only in my dreams. Nocturnal recurrence."
"You're like the character in that one movie of yours. What's it called? You know, the one where you eat yourself."
"The Silence of Sam."
"That's it. Can you do the scene?"
The actor lifts up his foot to stick it in his mouth. I reach over from my seat and help him to fit it into his bulging cheeks. The audience goes wild. — Benson Bruno

It's always great to play a character that goes against the grain. Finn defies what people think when they think of stormtroopers. — John Boyega

Movie or no, you should never put pictures of the book's characters on the cover. That only cramps the reader's fantasy. You force him to keep seeing the faces of the actors in the movie. For someone who has seen the movie first and then, out of curiosity, goes on to read the whole book, that might not be so bad. But anyone who reads the book first is faced with a dilemma. During the reading he sees the faces of all the characters in his mind's eye. Faces he wants to assemble with his own fantasy. No matter how those faces may be described. Despite your superfluous descriptions of noses, eyes, ears, and hair color, each reader constructs his own faces in his own imagination. Three hundred thousand readers; that's three hundred thousand different faces for each character. Three hundred thousand faces that are destroyed at one fell swoop by that one face in the movie. As a reader, it's pretty tough to remember that imaginary face after seeing the actor on the screen. Two — Herman Koch

The sheep-like tendency of human society soon makes inroads on a child's unsophistications, and then popular education completes the dastardly work with its systematic formulas, and away goes the individual, hurtling through space into that hateful oblivion of mediocrity. We are pruned into stumps, one resembling another, without character or grace. — N. C. Wyeth

He is a legend and he's going to be remembered for a long time. Just to play alongside him and learn from him has been an absolute pleasure. I think he is a footballer's footballer; he has been at this level for so long.
As long as he is part of us we always feel we have a chance. We appreciate the way he goes about his business. I have never met a character like Scholesy, certainly not someone who is that good. — Michael Carrick

Wanting to die (or 'suicidal ideation'as the experts would have it) goes hand in hand with the illness. It is a symptom of severe depression, not a character failing or moral flaw. Nor is it, truly, a desire to die so much as a fervent wish not to go on living. All depressives understand that distinction. — Sally Brampton

Not much to say except to warn you not to get too serious about all this, if you want to become a writer of fiction in the future. If you intend to become a critic, that is a Whale of another color ... Playing around with symbols, even as a critic, can be a kind of kiddish parlor game. A little of it goes a long way. There are other things of greater value in any novel or story ... humanity, character analysis, truth on other levels ... Good symbolism should be as natural as breathing ... and as unobtrusive. — Ray Bradbury

I have never seen the swing from "Hosanna!" to "Crucify!" more graphically evoked than in the virtually insane way the crowd goes berserk when the toreador makes an adroit turn, and they immediately follow this with insane howling and whistling when some mishap occurs. The momentary character of this mass mood goes so far that they applaud for the bull and against the toreador if, for example, the latter proves to be cowardly and
quite understandably
his courage fails him for a moment. — Dietrich Bonhoeffer

Every little thing that people know about you as a person impedes your ability to achieve that kind of terrific suspension of disbelief that happens when an audience goes with an actor and character he's playing. — Edward Norton

He's meant to be that classic Homer, Ulysses, Hercules - a character who goes out or has some gift of some kind. He goes on a journey of discovery and part of that is falling into darkness - the temptations of life. — Robert Redford

Thing is, as ye git aulder, this character-deficiency gig becomes mair sapping. Thir wis a time ah used tae say tae aw the teachers, bosses, dole punters, poll-tax guys, magistrates, when they telt me ah was deficient:'Hi, cool it, gadge, ah'm jist me, jist intae a different sort ay gig fae youse but, ken?' Now though, ah've goat tae concede thit mibee they cats had it sussed. Ye take a healthier slapping the aulder ye git. The blows hit hame mair. It's like yon Mike Tyson boy at the boxing, ken?
Every time ye git it thegither tae make a comeback, thir's jist a wee bit mair missin. So ye fuck up again. Yip, ah'm jist no a gadge cut oot fir modern life n that's aw thir is tae it, man. Sometimes the gig goes smooth, then ah jist pure panic n it's back tae the auld weys. What kin ah dae? — Irvine Welsh

Knowledge is an attitude, a passion, actually an illicit attitude. For the compulsion to know is like dipsomania, erotomania, and homicidal mania, in producing a character that is out of balance. It is not at all that the scientist goes after the truth. — Soren Kierkegaard

As the character changes in the movie, it rubs off on the viewer, so the viewer also goes through that change. — Eckhart Tolle

Voice isn't fixed or unmalleable, it adapts to the characters you are creating and the story being told. I suppose in some way that's true in life - a little flexibility goes a long way. — Ayana Mathis

The writer is a kind of hawk; he goes round in the skies, constantly looking with his sharp eyes for the character that he can pick up with his claws. Sometimes he goes round hungry for a week, he cannot catch any characters; and sometimes characters rain on him like heavy rain. — Mehmet Murat Ildan

The point here is not just that an image represents God as having body and parts, whereas in reality he has neither. But the point really goes much deeper. The heart of the objection to pictures and images is that they inevitably conceal most, if not all, of the truth about the personal nature and character of the divine Being whom they represent. — J.I. Packer

It's not that I'm necessarily looking for things that are so dark and emotional. But if I see something where the character goes through enormous change, it's very appealing to play all those levels, and that is probably going to involve some dark moments. — Tracy Pollan

For me, my past characters been hard, the way they died, being murdered, the sadness that goes around, the death. It's a very hard thing to do. — Michael K. Williams

Again, of two who act cautiously, you shall find that one attains his end, the other not, and that two of different temperament, the one cautious, the other impetuous, are equally successful. All which happens from no other cause than that the character of the times accords or does not accord with their methods of acting. And hence it comes, as I have already said, that two operating differently arrive at the same result, and two operating similarly, the one succeeds and the other not. On this likewise depend the vicissitudes of Fortune. For if to one who conducts himself with caution and patience, time and circumstances are propitious, so that his method of acting is good, he goes on prospering; but if these change he is ruined, because he does not change his method of acting. — Niccolo Machiavelli

I'm not one of those actors who gets so taken by a role that I can't live my life. I'm the type of actor who goes to work, transforms into a character, takes you on a journey, and then comes back home to be Billy. When I'm in it, I'm in it, but I know how to get out of it. When you can't shut it off, you're a crazy person. I'm not crazy. — Billy Porter

Yet a period's character does affect individual character. Psychology, the study of what happens in our minds, is tightly interwoven with culture, the name we give to our beliefs, practices, and social behaviors. The scholar Andrew Delbanco goes so far as to define culture as a collective psychological notion. "Human beings need to organize the inchoate sensations amid which we pass our days - pain, desire, pleasure, fear - into a story," Delbanco writes. "When that story leads somewhere and thereby helps us navigate through life to its inevitable terminus in death, it gives us hope. And if such a sustaining narrative establishes itself over time in the minds of a substantial number of people, we call it culture. — Joshua Wolf Shenk

I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of. — Nicolas Winding Refn

Paul Scholes would have been one of my first choices for putting together a great team - that goes to show how highly I have always rated him. An all-round midfielder who possesses quality and character in abundance. — Marcello Lippi

Some actors might just do one thing, and another actor does another thing. I do an awful lot of preparation with the script, really. What I do is repeat the script, over and over and over again. Through that, it's almost like it seeps into my enamel. I'm reading all the characters, as well as my own. That is where the bulk of my preparation goes into. — Michael Fassbender

Whenever I've done a sketch in which I'm asked to play a mom, my brain goes to Minnesota. It makes the character seem matronly, warm, the kind of person that takes care of you and brings you Campbell's soup when you're sick. It's a great shortcut. — Allison Tolman

The fun thing with the newer characters in the movie was that anything goes. The life they brought to it just exceeded my expectations. It was just above and beyond. — Coley Sohn

When push comes to shove we can afford to lose an arm or a leg, but I am operating on peoples thoughts and feelings... and if something goes wrong I can destroy that persons character... forever. — Henry Marsh

A circular plot structure, often seen in adventure novels and quest fantasies, is a narrative devise involving setting, character, and theme. Typically a protagonist ventures from home (or the starting place of the story), goes on a journey, often a dangerous one in which many challenges are overcome, and then returns home a changed person. The plot is usually chronological, with the events occurring in a setting that becomes a circle. By returning the character to the place where he started, the author can emphasize the character's growth or change while also highlighting the theme of the story. — Carl M. Tomlinson

Writing for me is quite a plastic form, a kind of mental sculpture, although that sounds weird. It acquires its character and its depth as it goes along. — Kate Atkinson

I'm not saying you need to become a spokesperson for every cause your character goes through, but it's important to absolutely do the best job we can in portraying a disease, and all the crap that goes with it. — Monica Potter

The biggest risk with a series that goes on this long is that you'll get bored with the character. — Patricia Cornwell

Remember ...
Keystrokes are hammer taps. Get words on paper. Don't worry about connections, character or plot. Work for an hour. Promise yourself an hour. Do nothing else but move your fingers. Make coarse shapes. Follow any emotion that pops up but never impose emotion, never fake it, and don't make up your mind or your heart ahead of time. Understand you don't know what you're doing. That's why you're here. Rough it out. Anything goes. You can decide later what any piece of text looks like, what it might mean. Don't stop. Don't question. Don't quit. Don't stop to read what you wrote. Move your fingers. You mind will have no other option but to keep up. Remember that writer's block is merely the cold marble waiting for the chisel to heat up. — Bob Thurber

Matthew, Mark, Luke, and John are a bunch of practical jokers who meet somewhere and decide to have a contest. They invent a character, agree on a few basic facts, and then each one's free to take it and run with it. At the end, they'll see who's done the best job. The four stories are picked up by some friends who act as critics: Matthew is fairly realistic, but insists on that Messiah business too much: Mark isn't bad, just a little sloppy: Luke is elegant, no denying that; and John takes the philosophy a little too far. Actually, though, the books have an appeal, they circulate, and when the four realize what's happening, it's too late, Paul has already met Jesus on the road to Damascus, Pliny begins his investigation ordered by the worried emperor, and a legion of apocryphal writers pretends also to know plenty ... It all goes to Peter's head; he takes himself seriously. John threatens to tell the truth, Peter and Paul have him chained up on the island of Patmos. — Umberto Eco

Thus, even after 1888 and Ellen White's strong counsel regarding the once-for-all, all-sufficiency of Christ's death for our sins, one finds from time to time attempts to add to the simple gospel. These efforts sometimes run along the lines of Uriah Smith's argument quoted above - that Christ's death justified us, but after that our works are necessary to live the sanctified life. Another position, one that goes back as far as the late M. L. Andreassen, emphasizes the righteousness that must be had by those redeemed from the earth when Jesus returns. This "last generation" theology focuses on perfection of character rather than righteousness by faith. In doing so it falls into the error that Paul addressed in his letter to the Galatians, namely, adding something to the gospel, which declares that Christ has done it all for us. — William G. Johnsson

I believe being a 'gentleman' goes well beyond holding the door for a girl and letting her go before you. It's about being vulnerable for her. I think that when it comes to the way we treat women, it's a good idea to look to the way Jesus treated women.

He laid His life down for His bride,

He sacrificed for her,

He lowered Himself for her,

He was vulnerable for her.

We must love women vulnerably in the same way that Jesus loved His bride vulnerably. Being a gentleman is far more than being caring and thoughtful, it's about possessing sacrificial and vulnerable Christ-like characteristics. I don't know if it's possible to be a gentleman without knowing and representing the character of Jesus. — Cole Ryan

As far as 'Twilight' goes, I'm in love with my character. I'm in love with the whole series. I love doing the fan conventions around the world, I love to travel. So wherever it fits in, I'd love to continue doing that for the rest of my life. Just meeting the fans who made everything possible from around the world. — Kellan Lutz

What I think after reading the script and seeing where the story goes, I go with my instincts on the character. If my instincts are wrong the director and the producers will guide me in the right direction. That's just kind of how I take on any role, be it a fantasy movie or not. — Josh Hutcherson

The thing about being powerful is that it may be a limited edition... as the source of the power goes you go; but becoming empowered will last a lifetime. — Johnnie Dent Jr.

It's important to me that the reader goes on a ride with the characters, that you set context enough to know, "Okay, here's where we are in the world. Now we're just going to go inside this person's head, this guy's heart, this woman's ambitions and take it down to very, very small scale." — Don Winslow

Acting is a bigger step into modelling in a way. Modelling is easier when you don't look like yourself. When you look like a different person, you feel different. Acting goes deeper into that; you have to move and talk like that character. I love it. — Liberty Ross

I read the script and I really liked it. It was high energy, crazy and it goes to any level to get people nuts and I thought Eve was an interesting character. At first I didn't get her, so it made me want to do the role because I wanted to dive in and see what she was about. On top of that I also wanted to work with Jason Statham because he's an amazing actor. — Amy Smart

Some people have heard of The Method, which originally goes back to Stanislavski ... he gave you six major pointers whereby you became that character and tried to fool your mind psychologically. That's it in a nutshell. Daniel Day Lewis is an example of somebody like that who stays in character between takes. — David Wenham

It's great to have the chance to play a character before he goes to the dark side, or the yellow side if you will. Normally, you don't get that opportunity. The narrative of a movie usually demands that you are that guy from the start. — Mark Strong

So what do you think?' He asked, holding up the book.
'I think Salinger is a closet paedophile,' I replied placidly and was surprised and comforted by this minuscule, acidic, bitter Sylvia Plath like mocking, sniping tone that had crept into my voice. 'The main character Seymour is a fully grown man and a pervert who befriends young girls with his storytelling and swimming, just to get close enough to groom them in preparation for the inevitable sexual assault he lusts after. You might have noticed for example in A Perfect Day For Bananafish he grabs the young girls-'
'Sybil.'
'He grabs Sybil's ankles while lying on the beach and again when he pushes her in the water,' I continued. 'He goes too far when he kisses the bottom of her foot which makes even a four-year-old yell out in fear, knowing a line had been crossed. Frustrated Seymour walks away and goes back to his hotel where he kills himself in shame. — J.D. Gallagher

I did this role in Life Goes On as an HIV positive character and so emotionally that was the most challenging. — Chad Lowe

Funny story: I was hanging out with Adam Shankman for Samantha Ronson's birthday, and Lance Bass was there. I don't really know Lance, but he comes over to me and goes, 'Hey, I just wanted to let you know I'm a fan of 'Pretty Little Liars' and I'm rooting for your character.' It was surreal! That's how 'PLL' has changed my life. — Ryan Guzman

Stephen King is not a guy who keeps secrets the same goes and for Jeffery Deaver. But Jeffery Deaver creates characters and plays with them, Stephen King knows with who is playing, Jeffery Deaver just goes as how will happen, I think that and he doesn't know where the story lines will go. — Deyth Banger

I'm not the kind of actress that goes home with the character. I mean, you're thinking about the work or the next day's scenes, but not staying in character. But as a film goes on, you become more and more fragile, emotionally. And physically too, actually. — Natasha Richardson

Life is All About How you Handle Plan B
Plan A is always my first choice.
You know, the one where
Everything works out to be
Happily ever-after.
But more often than not,
I find myself dealing with
The upside-down, inside-out version
Where nothing goes as it should.
It's at this point that the real
Test of my character comes in..
Do I sink, or do I swim?
Do I wallow in self pity and play the victim,
Or simply shift gears
And make the best of the situation?
The choice is all mine ...
Life is all about how you handle Plan B. — Suzy Toronto

More attention and thought goes into naming a character in 'Call Of Duty' than all the work that can go into certain movies. Blood and sweat and tears go into figuring out the names because they are so important. The call signs say a lot about you. The brotherhood that's evoked by the name is quite profound. — Stephen Gaghan

We all know what we should have done as we look backward. Yet looking backward further still, we may say that all goes as the Wild Magic wills. And we must look forward if we are to live long enough to look backward. — Mercedes Lackey

I think one of the things I always loved about the comics was this idea that this character, when he goes berserk, that white, blind rage makes him incredibly powerful, but it's also a great flaw. It's almost like he loses consciousness of what he's doing. During that he can do great damage. — Hugh Jackman

I really don't know what happened in reference to 'The Butler.' Mr. Daniels and I had a conversation. I had the script, the email that goes along with it in reference to the character, read the script, loved it. Then I never heard from Mr. Daniels again, and the next I saw was that Oprah Winfrey is now playing the part. — Mo'Nique

I don't really like to arrange shows by best performances. That's why Emmy season is kind of a chore for me. Unlike movies, where it's easier to decide who was the best performance, a TV show goes up and down, including characters/portrayals. — Hank Stuever

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. — Christopher Nolan

I've certainly seen stats that if you have a woman director or a woman screenwriter, the number of female characters goes way up. — Emma Donoghue

With every character you play, as these guys will tell you, there's a part of you goes into that in terms of the ingredients of making this stew. There's most definitely a part of me in Captain Jack and now, fortunately or unfortunately, there's a great part of Captain Jack in me as well. Basically, I can't shake him. He won't leave me alone. He just sort of keeps showing up at odd times. — Johnny Depp

'Tomorrowland' is very much the dream role for me. I've always wanted to do a movie like this. Movies like this aren't made anymore, and it's so cool that I get to be a part of it. I get to do something new and crazy every day, and my character goes through so many different things. I get to do all of it. It's awesome. — Britt Robertson

If anything, I've taken from this that I am indeed a good natured person, when I love I give it my all, I'm open to compromise and commitment, when something goes wrong, I'll try my hardest to fix it when some people would just walk away. I believe that is a true sign of character, to be willing to not give up when shit hits the fan, and try every possible route to fix things. — Kyle Adams

No man of common sense will value a woman the less, for not giving herself up at the first attack, or for not accepting his proposal without enquiring into his person or character; on the contrary, he must think her the weakest of all creatures in the world, as the rate of men now goes; in short, he must have a very contemptible opinion of her capacities, nay, even of her understanding, that having but one cast for her life, shall cast that life away at once, and make matrimony like death, be a leap in the dark. — Daniel Defoe

I'm such a product of my media diet ... it's interesting that you say what I do is observational. It's observational as far as it goes - to the extent that I observe media closely. Kriota might have a better sense of this. I don't always have the best sense of how human nature works, but I certainly know how to dismantle representations of characters. — Robert Sikoryak

Everybody you work with sees what you're doing from a different point of view, a very specific point of view. So, if someone is lighting, they're seeing it from that point of view. A production designer is seeing it from the placement of furniture that tells you about the character. Everything that goes into the room should tell you about the person who lives in that room. — Fred Schepisi

By the age of three, the child has already laid down the foundations of his personality as a human being, and only then does he need the help of special scholastic influences. So great are the conquests he has made that one may well say: the child who goes to school at three is already a little man. — Maria Montessori

Every family has in fact a sacred character belonging to it, which may indeed be forgotten or disdained; but the family is constituted, and ought therefore to be conducted, with the prospect of the rising generation following that which precedes it, not only to the grave, but to eternity"(Christopher Anderson). Every member of every household is an immortal creature; every one that leaves the circle by death, goes into an eternity of torment or bliss. And, since all the ordinances of God look to another world as their chief and ultimate reference, surely, surely, that institute which is the most powerful of all in the formation of character, must be considered as set up with a special intention to prepare the subjects of it for "glory, honour, immortality, and eternal life. — John Angell James

The humblest observer who goes to the mines sees and says that gold-digging is of the character of a lottery; the gold thus obtained is not the same thing with the wages of honest toil. But, practically, he forgets what he has seen, for he has seen only the fact, not the principle, and goes into trade there, that is, buys a ticket in what commonly proves another lottery, where the fact is not so obvious. — Henry David Thoreau

People define gay cinema solely by content: if there are gay characters in it, it's a gay film ... I think that's really simplistic. Heterosexuality to me is a structure as much as it is a content. It is an imposed structure that goes along with the patriarchal, dominant structure that constrains and defines society. If homosexuality is the opposite or counter-sexual activity to that, then what kind of a structure would it be? — Todd Haynes