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Situation Quotes

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Situation Quotes

“...But I don't think I'm the only person who is tired of books and movies full of paper-doll characters you don't care about, who have no self-respect and no respect for anybody or any institution....And I don't want to sound preachy or Victorian, but I'm tired of amorality in fiction and in real life. Immorality is a fascinating human dilemma that creates suspense for the readers and tension for the characters, but where is the tension in an amoral situation? When people have no personal code, nothing is threatening and nothing is meaningful.”

“If you have the personalities down, you understand them and identify with them; you can stick them in any situation and have a pretty good idea of how they're going to respond. Then it's just a matter of sanding and polishing up the jokes. But if you've got more ambiguous characters or stock stereotypes, the plastic comes through and they don't work as well. These two characters clicked for me almost immediately and I feel very comfortable working with them.”

“Fighting teaches you a lot about yourself. When you fight you are in a situation where failure can happen. This chance of failure forges your character in many ways and makes you realise how mentally tough you have to be as a fighter. This mental toughness will transfer into your everyday life, giving you drive and a clear concise attitude, where giving up is not an option”

“For me, the best characters are the ones that feel fully formed inside and out, so I try to have a very clear vision of exactly what they would wear, top to bottom, who they are, what their backstory is, what their family situation is, who are their friends, just creating as much of a three-dimensional character [as possible]. Because I think you could do a very broad character, but as long as there's some emotional truth to them you can get away with really crazy things.”

“The myriad-minded man, our, and all men's, Shakespeare, has in this piece presented us with a legitimate farce in exactest consonance with the philosophical principles and character of farce, as distinguished from comedy and from entertainments. A proper farce is mainly distinguished from comedy by the licence allowed, and even required, in the fable, in order to produce strange and laughable situations. The story need not be probable, it is enough that it is possible.”

“I very easily decide in certain situations that I'm an outsider. That's just my own craziness. I think that I have sympathy for those characters who are like that, but I love it when the humor comes from a character who is serious about his situation - only the way he's thinking about it is all wrong, or the ways he's solving his problems are never going to work.”

“The Bible talks about how God uses difficult situations to develop our character and get us stronger. The death of my father is probably the biggest thing that I ever faced. Daddy and I were best friends. But out of that darkness, out of that disappointment in my life, that's what God used to push me into another level of victory or another level of ministry that I never knew I had.”

“The lucidity of the battle narratives, the vigor of the prose, the strong feeling for the men from generals to privates who did the fighting, are all controlled by a constant sense of how it happened and what it was all about. Foote has the novelist's feeling for character and situation, without losing the historian's scrupulous regard for recorded fact. The Civil War is likely to stand unequalled.”

“The anger that you see expressed out there in Los Angeles, in my district this evening, is a righteous anger, and it's difficult for me to say to the people, "Don't be angry." When people are angry and enraged, they do do senseless things. They do act even sometimes out of character, and that's why it is the responsibility of America to try and avoid putting people in these kinds of situations.”

“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.”

“I think that by now, in the very beginning when I first joined the show, General Landry was like a new kid in school. I was coming into a situation I didn't really know much about, and now, after a couple of years, the character's kind of mellowed and gotten comfortable working at the command center and very comfortable with his troops. What they always do with these shows is they always leave them open-ended. The SG-1 franchise has been so successful for the network, that they always want to keep it open, an option to do it again in some way, whether that's a movie or a series, or whatever.”

“With this new stupid Supreme Court ruling, secret money can come in on an unlimited level from corporations. Nobody knows where it comes from. That distorts the political situation in our country tremendously. Most of that money is spent on negative advertising that is tearing down the character and reputation of your opponent, and it works, although most American people say, "We don't like negative advertising," it works.”

“So long as a novelist works selfishly for the pleasure of creating character and situation corresponding to his own illusions, ideals and intuitions, he will always produce something worth while and natural. Directly he takes himself too seriously and begins for the alleged benefit of humanity an elaborate dissection of complexes, he evolves a book that is more ridiculous and tiresome than the most conventional cold cream girl novel of yesterday.”

“I never heard of anybody who admired the character of sheep. Even the gentlest human personalities in contact with them are annoyed by their lack of brains, courage and initiative, by their extraordinary ability to get themselves into uncomfortable or dangerous situations and then wait in inert helplessness for someone to rescue them.”

“It takes courage to have a conscience when you seem to see others getting something tangible out of not bothering to struggle with the morality of a situation. It gets frustrating and demoralizing. This is precisely where character comes in. All throughout history special people have felt compelled to do what they objectively saw as right and good - even in the face of humiliation or rejection or expulsion or torture or death. That is because they believed that certain ideas were more important than individual well-being.”

“What a glorious new Scandinavia might not Minnesota become! Here the Swede would find again his clear, romantic lakes, the plains of Scane rich in corn, and the valleys of Norrland; here the Norwegian would find his rapid rivers ... The climate, the situation, the character of the scenery agrees with our people better than that of any other American States.”

“The poet presents the imagination with images from life and human characters and situations, sets them all in motion and leaves itto the beholder to let these images take his thoughts as far as his mental powers will permit. This is why he is able to engage men of the most differing capabilities, indeed fools and sages together. The philosopher, on the other hand, presents not life itself but the finished thoughts which he has abstracted from it and then demands that the reader should think precisely as, and precisely as far as, he himself thinks. That is why his public is so small.”

“There was a time in my acting career, where I was trying to figure out if acting was the thing to do. You know? I was always on this journey of trying to learn more about humanity and people - using the characters and situations as guideposts. I could switch up and do another job as long as I'm continuing that same search and that same journey of revealing my connection to humanity and the universe. And directing gives me the opportunity to explore ALL these different lives and their connection to their environments and the people. And I get to connect to the wires of the universe.”

“Judged by the stark, sure-footed portrait in Hard Time, Brian Azzarello and Richard Corben clearly have John Constantine down, cold and to the life. Azzarellos grasp of pacing, character and situation resonates through every scene with a black crystal clarity thats short of masterful, while Corben contributes what is, perhaps, one of the most darkly expressive pieces in a long, already-legendary career.”

“As a woman, she [Penelope Cruz] obviously has changed as she has become an adult. But, as an actress, I actually might say that she has not changed that much. And she has something great, especially in comedy, and she hasn't been exploited as much as she could be in comedy, but particularly in that mix between comedy and drama. She's got a very special quality about her. You can place her in very extreme situations, especially very painful situations, in terms of how her character interprets it. And sometimes, the deeper and more human that pain is, the better she is at it.”

“For me, digital is just another avenue. It doesn't mean that it has to be poor quality or poor content. But, you still run into the same struggles. You can't have full-on language, violence or sexual situations. You can't run rampant with the fact that it's digital. You can't do anything you want. You still have a responsibility to tell a story first, and show what the character is going through first, and then maybe you have a little bit of lee-way to show a more real side of life.”

“An actress reading a part for the first time tries many ways to say the same line before she settles into the one she believes suits the character and situation best. There's an aspect of the rehearsing actress about the girl on the verge of her teens. Playfully, she is starting to try out ways to be a grown-up person.”

“In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.”