Quotes of All Topics . Occasions . Authors
It wasn't exactly a cattle call. I had an agent, and they were seeing people for the parts, so my agent said, "Here's the script, see if there's anything that speaks to you." And I did, and I called my agent and said, "I think this character Data is kind of interesting," and she said, "Well, okay, I'll get you the appointment with Junie Lowry." I had to read with the casting agent first, 'cause nobody really knew me then. Then after that, I had, I think, six different auditions for the role. And finally it was me [on Star Trek].
God's Word is not presented in Scripture in the form of a theological system, but it admits of being stated in that form, and, indeed, requires to be so stated before we can properly grasp it - grasp it, that is, as a whole. Every text has its immediate context in the passage from which it comes, its broader context in the book to which it belongs, and its ultimate context in the Bible as a whole; and it needs to be rightly related to each of these contexts if its character, scope and significance is to be adequately understood.
There are just certain things you can't talk about with kids. I just totally do not believe in this sort of Bart Simpson character who infects so much of our literature and film and TV stuff nowadays, these know-it-all kids who seem to understand the hypocrisy of the adult world so thoroughly and can talk about it with such articulateness. That's bunk. Kids are kids; they're innocents, they really are. For a long time, no matter what they see, no matter what they're exposed to, they can't get it until they have developed enough.
Indeed the worthy housewife was of such a capricious nature, that she not only attained a higher pitch of genius than Macbeth, in respect of her ability to be wise, amazed, temperate and furious, loyal and neutral in an instant, but would sometimes ring the changes backwards and forwards on all possible moods and flights in one short quarter of an hour; performing, as it were, a kind of triple bob major on the peal of instruments in the female belfry, with a skilfulness and rapidity of execution that astonished all who heard her.
Alan Rickman was such a terrific actor, and that was such a terrific character that he played. And it was a joy to be with him. We used to laugh together because we ran out of reaction shots. They were always - when everything had been done and the children were finished, they would turn the camera around and we'd have to do various reaction shots of amazement or sadness and things. We used to say we'd got to about number 200-and-something and we'd run out of knowing what to do when the camera came around on us. But he was a joy.
I always tried to make people laugh. I attribute that to - I come from a family of divorce. It was a way to distract myself from stuff. I always thought it was interesting that my brother and I existed in this really tight bond, and we would just take the piss out of pretty much everything. I knew I wanted to be an actor so it would be great if I could make people laugh while I was doing this, because I could be other characters and other people, and I could hide behind things. It was a great out for me, and a mode of expression.
Do not let yourselves be discouraged or embittered by the smallness of the success you are likely to achieve in trying to make life better. You certainly would not be able, in a single generation, to create an earthly paradise. Who could expect that? But, if you make life ever so little better, you will have done splendidly, and your lives will have been worthwhile. Property may be destroyed and money may lose its purchasing power; but, character, health, knowledge and good judgement will always be in demand under all conditions.
What are the characters that I discern most clearly in the so-called Anglo-Saxon type of man? I may answer at once that two stickout above all others. One is his curious and apparently incurable incompetence--his congenital inability to do any difficult thing easily and well, whether it be isolating a bacillus or writing a sonata. The other is his astounding susceptibility to fears and alarms--in short, his hereditary cowardice.... There is no record in history of any Anglo-Saxon nation entering upon any great war without allies.
The divine within you is stronger than anything that is without you. Therefore, be not afraid of anything. Rely on your own Inner Self, the Divinity within you. Tap the source through looking within. Improve yourself. Build your character. Purify the heart. Develop the divine virtues. Eradicate evil traits. Conquer all that is base in you. Endeavor to attain all that is worthy and noble. Make the lower nature the servant of the higher through discipline, Tapas, self-restraint and meditation. This is the beginning of your freedom.
The first diabolical character who intruded himself on my peaceful youth (as I called to mind that day at Dullborough), was a certain Captain Murderer. This wretch must have been an off-shoot of the Blue Beard family, but I had no suspicion of the consanguinity in those times. His warning name would seem to have awakened no general prejudice against him, for he was admitted into the best society and possessed immense wealth. Captain Murderer's mission was matrimony, and the gratification of a cannibal appetite with tender brides.
Heterosexual women ask questions that are a lot to do with what I did to my body and what that was like to lose all that weight and so on. To me it just reveals that that's a preoccupation of theirs. Or gay women have been really keen on knowing how I felt about playing a gay character and have often wanted to talk about their own experiences with children. Straight men have often shown some sense of relief, that they get to experience the philanderer as a woman and not have to judge her in the same way. That's fascinating to me.
On the other hand, heroism is basic to the character of the Nordic peoples. This heroism of the ancient mythic period and this is what is decisive has never been lost, despite times of decline, so long as the Nordic blood was still alive. Heroism, in fact, took many forms, from the warrior nobility of Siegfried or Hercules to the intellectual nobility of Copernicus and Leonardo , the religious nobility of Eckehart and Lagarde, or the political nobility of Frederick the Great and Bismarck , and its substance has remained the same.
(The terms douloi, banausoi and aristoi) are in a way more precise, but what is more vital and valuable, they are more comprehensive: they project a concept of psychic order that embraces entire fields that we have no other way of seeing all together as the working of a single principle. If we think of the human domain as the collaboration and the conflict of these three diverse character-types, we can understand the weave and the stress and polemics of their very different basal teleologies or ultimate governing purposes of life.
I've never written a fiction before about real people. . . . I read everything that I could find by people who met them and tried to get some impression of them, but as always when you write fiction, even if you have completely fictitious characters, you start by thinking of what is plausible, what would they say, what would they be likely to do, what would they be likely to think. At some point, if it is every going to come to life, the characters seem to take over and start speaking themselves, and it happened with [COPENHAGEN].
You see? Characters in books do not read books. Oh, they snap them shut when somebody enters a room, or fling them aside in disgust at what they fancy is said within, or hide their faces in one which they pretend to peruse while somebody else lectures them on matters they'd rather not confront. But they do not read them. 'Twould be recursive, rendering each book effectively infinite, so that no single one might be finished without reading them all. This is the infallible message of discovering on which side of the page you are on.
The syndicates take the strip and sell it to newspapers and split the income with the cartoonists. Syndicates are essentially agents. Now, can you imagine a novelist giving his literary agent the ownership of his characters and all reprint, television, and movie rights before the agent takes the manuscript to a publisher? Obviously, an author would have to be a raving lunatic to agree to such a deal, but virtually every cartoonist does exactly that when a syndicate demands ownership before agreeing to sell the strip to newspapers.
American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
In comparing these two writers, he [Samuel Johnson] used this expression: "that there was as great a difference between them as between a man who knew how a watch was made, and a man who could tell the hour by looking on the dial-plate." This was a short and a figurative statement of his distinction between drawing characters of nature and characters only of manners, but I cannot help being of opinion, that the neat watches of Fielding are as well constructed as the large clocks of Richardson, and that his dial plates are brighter.
One interesting feature of criticism is seen in the ease with which it discovers what Addison called the specific quality of an author. In Livy, it will be the manner of telling the story; in Sallust, personal identification with the character; in Tacitus, the analysis of the deed into its motive. If the same test be applied to painters, it will find the prominent faculty of Correggio to be manifested in harmony of effect; of Poussin, in the sentiment of his landscapes; and of Raffaelle, in the general comprehension of his subject.
Never say never - and I certainly don't judge anyone who does it. But most of the characters I play are going through some kind of emotional turmoil, so my job requires me to have expression. If my face was froze, what right do I have to play that part? All the women who haven't done anything to their faces are still able to play great roles. And some of the ones who have done something have messed it up - they look freakish. Anyway, for me it's about playing women with rich lives - and the longer the life, the deeper the wrinkles.
I am interested in Scripture and theology. This is an interest that I can assume I would share with a pastor, so that makes me a little bit prone to use that kind of character, perhaps, just at the moment. Then there is also the fact that, having been a church member for many years, I am very aware of how much pastors enrich people's experience, people for whom they are significant. I know that it's a kind of custom of American literature and culture to slang them. I don't think there is any reason why that needs to be persisted in.
The arts and sciences, in general, during the three or four last centuries, have had a regular course of progressive improvement. The inventions in mechanic arts, the discoveries in natural philosophy, navigation and commerce, and the advancement of civilization and humanity, have occasioned changes in the condition of the world and the human character which would have astonished the most refined nations of antiquity. A continuation of similar exertions is everyday rendering Europe more and more like one community, or single family.
I use all types of instruments, really depending on the film. Instrument choices are very much tied to lighting, colors, art direction, as well as the narrative elements. I have a great collection of vintage synths, and of course I do like to write for acoustic instruments. I find the depth and intricacy of sound and emotion you can get with acoustic ensembles extremely versatile and effective in the overall sound environment. Also, the human aspect of performance is such an important part of the music score to character connection.
Faithfulness to the truth of history involves far more than a research, however patient and scrupulous, into special facts. Such facts may be detailed with the most minute exactness, and yet the narrative, taken as a whole, may be unmeaning or untrue. The narrator must seek to imbue himself with the life and spirit of the time. He must study events in their bearings near and remote; in the character, habits, and manners of those who took part in them. He must himself be, as it were, a sharer or a spectator of the action he describes.
I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.
Jesus is humble, and His servants must not be proud; but Jesus was never mean or cowardly, nor must His servants be. There was no braver man than Christ. He could stoop to save a soul, but He would stoop to nothing by which His character might be compromised or truth and righteousness insulted. To preach the Gospel boldly is to deliver it as such a message ought to be delivered. Blush to preach of a dying Saviour? Apologize for talking about the Son of God condescending to be made man that He might redeem us from all iniquity? Never!
On the one hand, we have the mass; on the other, its historic goal, located outside of existing society. On one hand, we have the day-to-day struggle; on the other, the social revolution. It follows that this movement can best advance by tacking betwixt and between the two dangers by which it is constantly being threatened. One is the loss of its mass character; the other, the abandonment of its goal. One is the danger of sinking back to the condition of a sect; the other, the danger of becoming a movement of bourgeois social reform.
Memory and the imagination are almost identical. It's the same place in the brain and the same thing is happening. When you think about your own life, there are no memories without place. You are always situated somewhere. I think the imagination - the narrative imagination at least - situates you in a specific space when you start to think of a story. I often use places I know. I put my characters inside rooms and houses that I'm familiar with - sometimes the houses of my parents or grandparents or previous apartments I've lived in.
I've always felt that the writing I responded to most - the novels and stories that compelled me, that felt like they described the world I live in, with all of its subjectivity, irrationality, and paradox, were those which made free use of myths and symbols, fantastic occurences, florid metaphors, linguistic experiments, etcetera - to depict the experiences of relatively 'realistic' characters - on the level of their emotions and psychology, rather than in terms of what kinds of lives they led or what kind of events they experience.
I write characters focusing on them as human beings, and then you wrap them within a culture. So I think I can connect with him as a person with brown skin who's viewed differently by the world. In terms of his culture, we're thinking about where we are locating Wakanda within the continent, and what the people and history of that region are like. It's a process of investigation to help inform the story at this point. But we are going to be engaged with consultants who are experts on the continent and on African history and politics.
Even when you think you can detach yourself from the characters, you don't. Because you're spending so much time trying to realize this person and make them real that they do infect you, in a way. And you do take them home and live with them, even if you think you're turning the character off. But in order to pull off a role convincingly, you wind up thinking about that person all the time, and it does sort of creep into you. And then there are things that you'll respond to, or react to in a very different way than you would normally.
This curious faith is predicated on the notion that we will soon develop unlimited new sources of energy: domestic oil fields, shale oil, gasified coal, nuclear power, solar energy, and so on. This is fantastical because the basic cause of the energy crisis is not scarcity: it is moral ignorance and weakness of character. We don't know how to use energy or what to use it for. And we cannot restrain ourselves. Our time is characterized as much by the abuse and waste of human energy as it is by the abuse and waste of fossil fuel energy.
My feeling is that a human being or any complex organism has a system of cognitive structures that develop much in the way the physical organs of the body develop. That is, in their fundamental character they are innate; their basic form is determined by the genetic structure of the organism. Of course, they grow under particular environmental conditions, assuming a specific form that admits of some variation. Much of what is distinctive among human beings is a specific manner in which a variety of shared cognitive structures develop.
Notwithstanding what some regard as the institutionalization of compassion, the transfer society quashes genuine virtue. Redistribution of income by means of government coercion is a form of theft. Its supporters attempt to disguise its essential character by claiming that democratic procedures give it legitimacy, but this justification is specious. Theft is theft, whether it be carried out by one thief or by a hundred million thieves acting in concert. And it is impossible to found a good society on the institutionalization of theft.
We're not going to deputize a whole bunch of American citizens to start grabbing people or turning them in, in part because the ordinary American citizen may not know whether or not this person is illegal or not. But, you know, the notion that we're going to criminalize priests, for example, or doctors who are providing services to individuals, and throw them in jail for doing what their calling asks them to do, which is to provide help and service to people in need, I think that is a mistake. I think that's out of America's character.
Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.
The judge's authority depends upon the assumption that he speaks with the mouth of others. That is to say, the momentum of his utterances must be greater than any which his personal reputation and character can command, if it is to do the work assigned to it - if it is to stand against the passionate resentments arising out of the interests he must frustrate - for while a judge must discover some composition with the dominant trends of his times, he must preserve his authority by cloaking himself in the majesty of an overshadowing past.
I love playing all kinds of roles. I hope it doesn’t sound too pretentious, but I always feel human nature is like a piano, and there are 88 keys, and there are some white keys and some black keys, and each character is a different chord on the piano. Basically, I hope that in the course of my life, I will have played all 88 keys. So, I’ll have played heroes and villains and princes and kings and warriors and beggars and thieves and lovers and fathers and wizards and all of those things. That is why I’m an actor… I love studying people.
To follow Jesus implies that we enter into a way of life that is given character and shape and direction by the one who calls us. To follow Jesus means picking up rhythms and ways of doing things that are often unsaid but always derivative from Jesus, formed by the influence of Jesus. To follow Jesus means that we can't separate what Jesus is saying from what Jesus is doing and the way that he is doing it. To follow Jesus is as much, or maybe even more, about feet as it is about ears and eyes" (The Way of Jesus, Eugene H. Peterson, 22).
People say that the brain is a muscle and that one of the best exercises for any brain is learning another language and to switch from one to another as much as you can. I've found out that when I have trouble regarding any character or any particular scene in English, sometimes I'll switch to Spanish and I'll solve the problem that I've encountered. If I'm working in Spanish and I don't know how to approach certain scenes or certain emotions, or how to say this and that, I just switch to English to try to solve it that way and it works.
I remember in one of my early films I had a drunk scene. It was Kiss Me Goodbye, with Sally Field, and I was playing this kind of nerdy guy who gets drunk and dances. And so I thought, "Oh well, I'll just get drunk and do the dance." And it was wonderful, but then I had the rest of the day, and the next day. So I learned that you don't really have to do the things that your character is doing. But us actors, we use something called sense memory. I've certainly been drunk before, and part of my job is to recall that without getting drunk.
Some of the things I love the most are when a writer or a visionary takes on sort of an iconic character and then spins it. Like with Frank Miller, Batman was this one thing for basically forty years, and then Frank Miller came along and said he can also be this other thing. And Christopher Nolan came along and said he can also be this other thing. The idea of taking iconic comic book characters or superhero characters or mythic characters and subverting the genre or coming up with a new idea is something that's really interesting to me.
In terms of how I work with actors, having worked so heavily on the script I have a very clear idea of the characters; they are reasonably well illustrated in the script. If you cast it right, to a great degree you can hand it over to the actor and I just make suggestions. I'm not the kind of director who needs or wants to get into too much finessing. Ideally, when you hit the set, you have this conversation, like, 'eh, what did you think?' 'I don't know, what did you think?' 'Why don't we just try it again, make a few physical changes.'
I think that most of my books are part of some process of self-education, often about the places I go to. Most of all, they are about the peculiar tension between institutional loyalty and loyalty to oneself; the mystery of patriotism, for a Brit of my age and generation, where it runs, how it should be defined, what it's worth and what a corrupting force it can be when misapplied. All that stuff is just in me and it comes out in the characters. I don't mean to preach, but I know I do, and I'm a very flawed person. It's quite ridiculous.
I was blessed enough to meet Pope John Paul when I was about 19 or 20 years old in the Vatican; I had that privilege, .. My mother took me to visit him and I remember distinctly his incredible charisma and personal charm and his warmth and compassion. You felt it immediately the minute you met him, and that spirit I came away with, having met the man, is something that I've been constantly working on to infuse the character with, so that we can have his spirit and his love and his compassion, because that's really the essence of the man.
I think most teen comedies are probably played in a way that aren't geared towards people that are wanting to be entertained but also [see] something that has a lot of heart to it. The things we do in the movie - it has a lot of heart, and also it's really smart. The people and the characters that we are, we're really intelligent people that are using our tactics to get back at a guy. The moral of being who you are, and trusting yourself, finding your inner strength - I think that's something that most teen movies don't really dial into.
You've got this world, these pathologists that are, day in and day out, taking apart bodies, coming up with theories about how they died and how to better serve the community. At the same time these people have lives outside and families and my character in particular, he has a fiance and things are going well for him, so you've got to show that nice warm compassionate side at the same time you've got to show the steely, icy cool of a doctor. Not only that, but a doctor who gets a bit of a God complex and starts killing people for sport.
Being the owner of Dachshunds, to me a book on dog discipline becomes a volume of inspired humor. Every sentence is a riot. Some day, if I ever get a chance, I shall write a book, or warning, on the character and temperament of the Dachshund and why he can't be trained and shouldn't be. I would rather train a striped zebra to balance an Indian club than induce a Dachshund to heed my slightest command. When I address Fred I never have to raise either my voice or my hopes. He even disobeys me when I instruct him in something he wants to do.
Gender is not something that one is, it is something one does, an act... a "doing" rather than a "being". There is no gender identity behind the expressions of gender; that identity is performatively constituted by the very "expressions" that are said to be its results. If the immutable character of sex is contested, perhaps this construct called 'sex' is as culturally constructed as gender; indeed, perhaps it was always already gender, with the consequence that the distinction between sex and gender turns out to be no distinction at all.
Peace should be a hallmark of the godly person, first because it is a Godlike trait: God is called the God of peace several times in the New Testament. He took the initiative to establish peace with rebellious men, and He is the author of both personal peace as well as peace among men. Peace should be part of our character also because God has promised us His peace, because He has commanded us to let peace rule in our lives and relationships, and because peace is a fruit of the Spirit and therefore an evidence of His working in our lives.