The overman...Who has organized the chaos of his passions, given style to his character, and become creative. Aware of life's terrors, he affirms life without resentment.
I don't know where the characters are going to go or what's going to happen. I know that something inevitable will happen. I know that they want certain things and they're in a certain room and they smell like this and they look like that. More often than not, an entropy creeps in that strangles me, and then the inevitable happens. I don't know if I have the ability to write an ending like My Fair Lady's, when everyone gets what they want after a few minor conflicts. If I tried to write that it would just be false. Or I'd have someone enter with a machine gun.
If her eyes had no expression, it was probably because they had nothing to express. If she had few wrinkles, it was because her mind had never traced its name or any other inscription on her face.
The more a man is successful in getting out (or coming out) from his own individuality, of his egoist self, and to control (or dominate) the instincts of his physical nature, the more his character, by rising above material contingencies, widen, become free and independent.
For me, if the writing and - by extension - the subject matter and the characters are all good, it doesn't matter if it's film or TV. Each medium has great things going for it.
The character of covetousness, is what a man generally acquires more through some niggardliness or ill grace in little and inconsiderable things, than in expenses of any consequence.
Romeo is the most misunderstood character in literature, I think. He's hardcore to play because he's displaying the characteristics of Hamlet at the beginning, and, well, then everything else happens.
Scientific greatness is less a matter of intelligence than character; if the scientist refuses to compromise or accept incomplete answers and persists in grappling the most basic and difficult questions.
"Then idiots talk," said Eugene, leaning back, folding his arms, smoking with his eyes shut, and speaking slightly through his nose, "of Energy. If there is a word in the dictionary under any letter from A to Z that I abominate, it is energy."
One thing about this face was very strange and startling. You could not look upon it in its most cheerful mood without feeling that it had some extraordinary capacity of expressing terror. It was not on the surface. It was in no one feature that it lingered. You could not take the eyes or mouth, or lines upon the cheek, and say, if this or that were otherwise, it would not be so. Yet there it always lurked-something for ever dimly seen, but ever there, and never absent for a moment.
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.
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.
Reason must approach nature in order to be taught by it. It must not, however, do so in the character of a pupil who listens to everything that the teacher chooses to say, but of an appointed judge who compels the witness to answer questions which he has himself formulated.
Le lecteur, lui non plus, ne voit pas les choses du dehors. Il est dans le labyrinthe aussi. The reader [as well as the main character] does not view the work from outside. He too is in the labyrinth.
Giving style” to one’s character - a great and rare art! It is exercised by those who see all the strengths and weaknesses of their own natures and then comprehend them in an artistic plan until everything appears as art and reason and even weakness delights the eye.
Arise! Arise! A tidal wave is coming! Onward! Men and women, down to the Chandala (Pariah) - all are pure in his eyes. Onward! Onward! There is no time to care for name, or fame, or Mukti, or Bhakti! We shall look to these some other time. Now in this life let us infinitely spread his lofty character, his sublime life, his infinite soul. This is the only work - there is nothing else to do.