Quotes About Multifaceted

I'm kind of versatile and I can play with the ball and without the ball.

I'm versatile, you know?

My biggest strength is my versatility.

I guess my versatility might be an added bonus.

I have always aimed for versatility.

That's what my game is built around: versatility.

Versatility is very important in the modern game.

There's no doubt about it: I think that my versatility helps me.

My face has a versatility that lends itself to different looks.

I like showing versatility.

Actors on stage, you can go from playing a myriad of roles, from Shakespeare to a Eugene O'Neil drama, and it's the norm. I came up in a world where you're supposed to be able to do three things very well. Act, sing, dance, paint, do something. The emphasis was on versatility.

Here's the thing that I think really pushed me, was my versatility. Because when I came in to the movie business, all the stunt men were specialists. If you did horse work, that's all you did. If you did cars and motorcycles, you did that. But when I came in, I taught myself how to do everything.

I think what I do really well is that I can 'chameleon' myself into many styles at a very fast pace, sometimes in the same verse of a song.

She may have looked normal on the outside, but once you'd seen her handwriting you knew she was deliciously complicated inside.

Emotions, in my experience, aren't covered by single words. I don't believe in "sadness," "joy," or "regret." Maybe the best proof that the language is patriarchal is that it oversimplifies feeling.

I've always tried to be conscious of how I represent women in my work. They don't have to be good or strong women, but they have to be complex.

Some people make a career out of doing one thing, but I wanted to diversify my body of work.

Man is not a farmer, or a professor, or an engineer, but he is all. Man is priest, and scholar, and statesman, and producer, and soldier.

I want to do everything and not get stuck with just one type of roles.

I always tell my students to complicate your characters: never make it easy for the reader. Nobody is ever one thing. That's what makes characters compelling.

What I always studied in screenwriting from my mentor John Glavin was that the most interesting characters are characters with shades of gray.

When in school, I was interested in many things other than studies.

I'd like to think that the boring lady who's talking to me now is a lot sexier and more interesting than the one who's doing NPR. You know, studious and reserved, and - I bet you're a lot of fun at a party.

I'm Hank, I do a bunch of stuff.