Ultimately, physical resemblance isn't as important as whether this person can bring this character to life in a way that's compelling and makes me care about what happens to them.
That the outer man is a picture of the inner, and the face an expression and revelation of the whole character, is a presumption likely enough in itself, and therefore a safe one to go on; borne out as it is by the fact that people are always anxious to see anyone who has made himself famous. Photography offers the most complete satisfaction of our curiosity.
The superior man will watch over himself when he is alone. He examines his heart that there may be nothing wrong there, and that he may have no cause of dissatisfaction with himself.
When you work with a good actor, there is this natural rapport and chemistry that develops over time. That chemistry helps your characters come alive and makes the story of the film that much more convincing.
Self Esteem::"It is very easy in the world to live by the opinion of the world. It is very easy in solitude to be self-centered. But the finished man is he who in the midst of the crowd keeps with perfect sweetness the independence of solitude. I knew a man of simple habits and earnest character who never put out his hands nor opened his lips to court the public, and having survived several rotten reputations of younger men, honor came at last and sat down with him upon his private bench from which he had never stirred."
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.
All of the actors that have served to me as inspiration over the years have been those more associated with dramatic work who have, in turn, been able to embody their characters and lose themselves in those characters that they create.
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.
People lament that there's no roles being written for South Asian or Muslim characters. But their parents don't want their children to go into the entertainment field. You don't get it both ways.
Cities force growth and make men talkative and entertaining, but they make them artificial. What possesses interest for us is thenatural of each, his constitutional excellence. This is forever a surprise, engaging and lovely; we cannot be satiated with knowing it, and about it; and it is this which the conversation with Nature cherishes and guards.
... for this discovery of yours will create forgetfulness in the learners' souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves.
Don't let your special character and values, the secret that you know and no one else does, the truth - don't let that get swallowed up by the great chewing complacency.
If thinking is like perceiving, it must be either a process in which the soul is acted upon by what is capable of being thought, or a process different from but analogous to that. The thinking part of the soul must therefore be, while impassable, capable of receiving the form of an object; that is, must be potentially identical in character with its object without being the object. Mind must be related to what is thinkable, as sense is to what is sensible.