Quotes About Character

Woe to him whom this world charms from Gospel duty. Woe to him who seeks to pour oil upon the waters when God has brewed them into a gale. Woe to him who seeks to please rather than to appal. Woe to him whose good name is more to him than goodness. Woe to him who, in this world, courts not dishonor! Woe to him who would not be true, even though to be false were salvation. Yea, woe to him who, as the great Pilot Paul has it, while preaching to others is himself a castaway.

That immaculate manliness we feel within ourselves, so far within us, that it remains intact though all the outer character seem gone; bleeds with keenest anguish at the undraped spectacle of a valor-ruined man.

But thus it often is, that the constant friction of illiberal minds wears out at last the best resolves of the more generous.

It's only his outside; a man can be honest in any sort of skin.

He looked like a man who had never cringed and never had had a creditor.

it is better to sail with a moody good captain than a laughing bad one.

I believe that much of a man's character will be found betokened in his backbone. I would rather feel your spine than your skull, whoever you are. A thin joist of a spine never yet upheld a full and noble soul. I rejoice in my spine, as in the firm audacious staff of that flag which I fling half out to the world.

Woe to him whose good name is more to him than goodness.

In truth, a mature man who uses hair-oil, unless medicinally, that man has probably got a quoggy spot in him somewhere.

In truth, a mature man who uses hairoil, unless medicinally, that man has probably got a quoggy spot in him somewhere. As a general rule, he can't amount to much in his totality.

if you gobern de shark in you, why den you be angel; for all angel is not'ing more dan de shark well goberned.

Well, I did Marlene 15 years ago and that's in the style. It's somehow similar and not similar because Marlene was much more aggressive, funny and sad.

I will not play just an evil part. In fact, I got offered $7 million several years ago to play the part that Faye Dunaway played in 'Supergirl.' I was kind of insulted. I was impressed with the money, but I said, 'Why are you asking me to play an evil witch? Do I come across as an evil witch to you?'

I have also just finished three weeks on a soap opera in England. The soap opera is a rather famous one called Crossroads. It was first on television 25 years ago, and it has recently been brought back. I play the part of a businessman called David Wheeler.

For example, a man who might not have enormous charisma, who could be president 40 years ago, and who was a deserving president, I don't know that George Washington would be a president today, I don't know that Abe Lincoln would, I don't know that Roosevelt would.

Garry Trudeau put me in the Doonesbury strip many years ago. So I've been a cartoon once.

Someone I met years ago explained to me the difference between a personality and an actor, a personality being Eddie Murphy or Roseanne Barr, and an actor being Morgan Freeman and Alfre Woodard or Marlon Brando.

A reputation takes years and years and years to build, and it takes one press of a button to ruin it. Don't let that happen to you. You've done so much work; you've put in so much effort. Don't let one moment ruin your entire life because you wanted to be funny or you were mad or because you had a mood.

Everything on 'Broad City' that my character has drawn is my stuff from years and years ago.

I denied this for many, many years and years... but you cannot help but not see a little of my mother in the character of Edna.

When you lived it for years and years and years and seen different characters just get pummeled and squashed because 'I said so,' it gets mighty damn disturbing and it's such a downer when you're trying to get a guy to perform at the top level for the audience that he's capable of.

I can be bolder on the page, as a character. I can gnash my teeth, I can scream and yell, in a way that I'm perhaps too timid to do in real life.

When you hire Sam Jackson, he'll figure out the character, and he'll figure out the character's look, and he'll provide it to you. With Sam Jackson, you basically yell 'action', you go get a sandwich, and you come back and yell 'cut.'

When there is a pain-in-the-neck role for a girl to play, the directors start yelling 'Agnes.'