I think the least stereotypical gay character on television is probably Matt LeBlanc on Episodes. He just plays it so straight-faced. They never talk about the fact that he's such a huge gay person.
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.
I do tend to gravitate to the more dramatic side of things. I love feeling intense emotions when I'm acting. I just love characters and stories with conflict.
You always take a little bit back with you at the end of the day. I always put a little bit of myself into the characters, too. You find parallels, points of connection, things like that. But I'm not an actor who gets so incredibly haunted by my characters that I can't come back.
He had a sense of his dignity, which was of the most exquisite nature. He could detect a design upon it when nobody else had any perception of the fact. His life was made an agony by the number of fine scalpels that he felt to be incessantly engaged in dissecting his dignity.
The Gods we worship write their names on our faces; be sure of that. And a man will worship something ... That which dominates will determine his life and character. Therefore it behooves us to be careful what we worship, for what we are worshipping we are becoming.
I'm not comfortable being around too many people. I don't like being out in public too much. I don't like going to bars. I don't like doing celebrity stuff. So most of the characters I play are people who don't always feel comfortable beyond their small circle of friends.
To be wealthy, a rich nature is the first requisite and money but the second. To be of a quick and healthy blood, to share in all honorable curiosities, to be rich in admiration and free from envy, to rejoice greatly in the good of others, to love with such generosity of heart that your love is still a dear possession in absence or unkindness-these are the gifts of fortune which money cannot buy, and without which money can buy nothing.
Good character consists of recognizing the selfishness that inheres in each of us and trying to balance it against the altruism to which we should all aspire. It is a difficult balance to strike, but no definition of goodness can be complete without it.
Alas, two men are often necessary to provide a woman with a perfect lover, just as in literature a writer composes a type only by employing the singularities of several similar characters.
Learning to stand in somebody else's shoes, to see through their eyes, that's how peace begins. And it's up to you to make that happen. Empathy is a quality of character that can change the world.
All your scholarship, all your study of Shakespeare and Wordsworth would be in vain, if at the same time you do not build your character, and attain mastery over your thoughts and actions.
I definitely see the good in people. Certainly in my own life I strive to be somebody who is functional and well adjusted and can face conflict in a non-emotional and non-destructive way, and those are the people I try to surround myself with in my life. But as characters, they bore me.
For the man who makes everything that leads to happiness, or near to it, to depend upon himself, and not upon other men, on whose good or evil actions his own doings are compelled to hinge,--such a one, I say, has adopted the very best plan for living happily. This is the man of moderation; this is the man of manly character and of wisdom.
But the novels of women were not affected only by the necessarily narrow range of the writer's experience. They showed, at least in the nineteenth century, another characteristic which may be traced to the writer's sex. In Middlemarch and in Jane Eyre we are conscious not merely of the writer's character, as we are conscious of the character of Charles Dickens, but we are conscious of a woman's presence of someone resenting the treatment of her sex and pleading for its rights.
Whatever may be the pros and cons of going to the public theatre, it is a patent fact that it has undermined the morals and ruined the character of many a youth in his country.