and in that recurring dream, I found myself trapped in some sort of gigantic game of which I was unfamiliar with the rules; lost in a labyrinthine town of dark and damp, criss-crossing streets, ambiguous characters of uncertain authority having no idea of why I was there nor what I had to do, and where the first sign of the beginning of understanding was the wish to die.
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.
A skillful commander is not overbearing. A skillful fighter does not become angry. A skillful conqueror does not compete with people. One who is skillful in using men puts himself below them. This is called the strength to use men. This is called matching Heaven, The highest principle of old.
Hence, the less government we have, the better,--the fewer laws, and the less confided power. The antidote to this abuse of formalGovernment, is, the influence of private character, the growth of the Individual; the appearance of the principal to supersede the proxy; the appearance of the wise man, of whom the existing government, is, it must be owned, but a shabby imitation.
Character repudiates intellect, yet excites it; and character passes into thought, is published so, and then is ashamed before newflashes of moral worth.
Woe betide him, and her too, when it comes to things of consequence, when they are placed in circumstances requiring fortitude and strength of mind, if she have not resolution enough to resist idle interference ... It is the worst evil of too yielding and indecisive a character, that no influence over it can be depended on. You are never sure of a good impression being durable; everybody may sway it. Let those who would be happy be firm.
I wanted to try to create characters that happen to be Asian but who are pretty different from those we generally see in our culture, in our commercial culture.
So long as the spectator has to figure out the meaning of this or that person, or the presuppositions of this or that conflict of inclinations and purposes, he cannot become completely absorbed in the activities and sufferings of the chief characters or feel breathless pity and fear.
I get the impression from some people that unless they get direct access to characters' thoughts and realizations, either through thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.
Happy will that house be in which the relations are formed from character; after the highest, and not after the lowest order; the house in which character marries, and not confusion and a miscellany of unavowable motives.
Hamlet 's character is the prevalence of the abstracting and generalizing habit over the practical. He does not want courage, skill, will, or opportunity; but every incident sets him thinking; and it is curious, and at the same time strictly natural, that Hamlet, who all the play seems reason itself, should he impelled, at last, by mere accident to effect his object. I have a smack of Hamlet myself, if I may say so.
One of the things that you come pretty early on to understand in this job, and you start figuring out even during the course of the campaign, is that there's Barack Obama the person and there's Barack Obama the symbol, or the office holder, or what people are seeing on television, or just a representative of power. And so when people criticize or respond negatively to me, usually they're responding to this character that they're seeing on TV called Barack Obama, or to the office of the presidency and the White House and what that represents.
It is far pleasanter to injure and afterwards beg forgiveness than to be injured and grant forgiveness. He who does the former gives evidence of power and afterwards of kindness of character.