How wonderfully beautiful is the delineation of the characters of the three patriarchs in Genesis! To be sure if ever man could, without impropriety, be called, or supposed to be, "the friend of God," Abraham was that man. We are not surprised that Abimelech and Ephron seem to reverence him so profoundly. He was peaceful, because of his conscious relation to God.
Vanity was the beginning and the end of Sir Walter Elliot's character; vanity of person and of situation. He had been remarkably handsome in his youth; and, at fifty-four, was still a very fine man. Few women could think more of their personal appearance than he did, nor could the valet of any new made lord be more delighted with the place he held in society. He considered the blessing of beauty as inferior only to the blessing of a baronetcy; and the Sir Walter Elliott, who united these gifts, was the constant object of his warmest respect and devotion.
Of course, people will call you an old artist or young artist, which is just a character of you. But personally, I don't think my work and my understanding of art is so much related to being Chinese, but the character of that. Maybe it's beyond my own consciousness.
....for friendships that are acquired by a price and not by greatness and nobility of character are purchased but are not owned, and at the proper moment they cannot be spent.
Good name in man and woman, dear my lord, Is the immediate jewel of their souls: Who steals my purse steals trash; ’tis something, nothing; ’twas mine, ’tis his, and has been slave to thousands; But he that filches from me my good name Robs me of that which not enriches him, And makes me poor indeed.
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.
I was always casting about for role models as a kid and the Star Trek was always available via reruns and also full of possibilities. I wanted to be like Spock because he was unflappable. I wanted to be like Kirk because he had magnetism and the ladies loved him. Bones was a grouch but he was sympathetic. The show worked like a boy band in that way... it had characters who embodied different psychic or emotional positions and that allowed me to see a great range of things.
I have no idea who the characters are, later, their personalities take over anything I might want to do. I end up writing not from my own will, but from theirs-they come alive as I write and make me do things that I couldn't have planned.
If you lose your wealth, you have lost nothing; if you lose your health, you have lost something; but if you lose your character, you have lost everything.
The elevation of appearance over substance, of celebrity over character, of short term gains over lasting achievement displays a poverty of ambition. It distracts you from what's truly important.
The key to writing for Richard (Pryor) was to just push his buttons and then know when to push the buttons on your cassette recorder. You'd get him started, then surreptitiously start recording when he got inspired and started walking around the room and improvising in character. Then you'd get it all transcribed and take credit for it.