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“Costume is always an asset. Normal costume you have a lot to say about - if you're wearing suits or ties, and what color you want, and how it's going to be cut, and stuff like that, and whether or not you're going to wear a hat, and blah, blah, blah. But, when you're wearing a special costume, and of course, costume is probably the second ingredient in character, script being first, I always find that the costume does a lot to cement your character, to put it firmly in mind.”

“The "Lucifer Effect" describes the point in time when an ordinary, normal person first crosses the boundary between good and evil to engage in an evil action. It represents a transformation of human character that is significant in its consequences. Such transformations are more likely to occur in novel settings, in "total situations," where social situational forces are sufficiently powerful to overwhelm, or set aside temporally, personal attributes of morality, compassion, or sense of justice and fair play.”

“You travel life has the aspect of a dream. It is something outside the normal, yet you are in it. It is peopled with characters you have never seen before and in all probability will never see again. It brings occasional homesickness, and loneliness, and pangs of longing ... But you are like the Vikings who have gone into a world of adventure, and home is not home until you return.”

“It's not racism per se but the tyranny of normalcy - no: the tyranny of attractive normalcy. Which leads to loveable white models who are supposed to be playing ordinary, adorably flawed professionals just like you and me with their brilliant minority friends (with vastly less camera time) who are surgeons. But it's not just ethnicity. That narrow vision also extends to, say, things like women leads. Women leads have to be good-hearted and nice, with a Slutty Best Friend. The main character can't be slutty. Because that's not attractively normal etc”

“Think of anger as a muscle. The way you express anger isn't the way that I do, or you. If you have a good director, you will find that he's getting you to use an entirely different muscle that you never even knew you had - it's real hard and sore, then after a while it becomes normal. And you discover all these new muscles when you enter a new character - that's what a director does for you.”

“Like every normal person, I hate my voice. And I am not the only one who hates my voice. The voiceover gets a lot of strong reactions. A lot of people love it, and a few people truly hate it and pronounce the films are unwatchable because of my Latvian accent. But it also has a certain level of theatricality, and everything is important for a manic character.”

“Sometimes I will portray the more normal-looking people as the monsters and then the more distorted - "uniquely formed" is the word I like to use, rather than monstrous - as the sympathetic characters in the painting. It's interesting because some people will get it right away, but a common reaction is to be a little off-put by it. And that is the whole idea. If it grabs somebody in a negative way, that's my intention.”

“I feel like we're looked at as either completely nonsexual characters or overly sexual characters, and I feel like that affects how we're treated in the public space by men. I believe that women of color experience street harassment in a very hyper way. So I wanted to draw these women in their very normal, regular states and put those images out there in the public for people to see, instead of these other, very sexualized, images of women.”

“Every time a resolve or a fine glow of feeling evaporates without bearing practical fruit is worse than a chance lost; it works to hinder future resolutions and emotions from taking the normal path of discharge. There is no more contemptible type of human character than that of the nerveless sentimentalist and dreamer, who spends his life in a weltering sea of sensibility and emotion, but who never does a manly concrete deed.”

“In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.”

“The effort to make financial or political profit out of the destruction of character can only result in public calamity. Gross and reckless assaults on character, whether on the stump or in newspaper, magazine, or book, create a morbid and vicious public sentiment, and at the same time act as a profound deterrent to able men of normal sensitiveness and tend to prevent them from entering the public service at any price.”

“I think the relationship between mother and daughter is so interesting, even in a semi-normal family. Emily Thorne/Amanda Clarke's family relationship is going to be so interesting to explore. It is going to give me so many places to go. Obviously, it has been said that she is not the most stable of characters. What is interesting about that, when you think about mental health, is that young women will often come into those problems and difficulties in their 20's, so it is very possible that this will start to affect her psyche.”

“I know I'm not normal in this, but [ Severus ] Snape is absolutely my favorite character in the Harry Potter books. He is completely mortal - good, bad, strong, weak, motivated by hatred, motivated by love. A gorgeous, compelling, complex character who definitely earns a spot at my table.”

“Lyndon Johnson is still the most formidable, fascinating, frustrating, irritating individual I think I've ever known in my entire life. He was huge, a huge character, not only standing six feet four, but when you talked to him, he violated the normal human space between people. He was a great storyteller. The problem was that half his stories, I discovered, weren't true.”

“There's the instability of my attitude as an artist, the instability of our perception of the world, and the idea that with this mix, you never know exactly what's the point of view of the filmmaker. This breaks the stability of the belief that a filmmaker is somebody who has a logical relationship with his own material. These elements create this atmosphere that I find more interesting than a normal atmosphere, based only on the characters.”

“The people cannot look to legislation generally for success. Industry, thrift, character, are not conferred by act or resolve. Government cannot relieve from toil. It can provide no substitute for the rewards of service. It can, of course, care for the defective and recognize distinguished merit. The normal must care for themselves. Self-government means self-support.”