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“I always had a struggle, which I still do, when you're playing a character and it's not necessarily your morals or your values. You're playing a character, but the way the media will sometimes ask you if these are your opinions, you know - they make you responsible for that, and I take issue with it because I don't believe in censorship.”

“Both matter and radiation possess a remarkable duality of character, as they sometimes exhibit the properties of waves, at other times those of particles. Now it is obvious that a thing cannot be a form of wave motion and composed of particles at the same time - the two concepts are too different”

“The love story between the hero and the heroine has to be at the center of the book. I think that's pretty true in my books. I usually write a secondary love story, with maybe nontraditional characters. Sometimes I write older characters. I'm interested in female friendships, and family relationships. So I don't write the traditional romance, where you just have the hero and the heroine's love story. I like intertwining relationships.”

“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.”

“Self-Control is the very essence of character. To be able to look a man straight in the eye, calmly and deliberately, without the slightest ruffle of temper under extreme provocation, gives a sense of power which nothing else can give. To feel that you are always, not sometimes, master of yourself, gives a dignity and strength to character, buttresses it, supports it on every side, as nothing else can. This is the culmination of thought mastery.”

“I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.”

“I think bringing depth to characters means really needing to find out who this girl is, what is she passionate about, what makes her tick, what gets her going in life. So I did a lot of backstory for who she was and sometimes it comes across screen and sometimes it doesn't. You never know, because you're not the director, but you can only do your work and hope that it somehow subtly is infiltrated in that. But I think the characters I've played for the most part have depth, just not in the way that you think they do.”

“Sometimes I forget what I put in. I want to capture things in that way, where you're looking into your memory, a dream or hallucination. The characters become a mixture of archetypes, [and] that's what I like. You're trying to figure it out and your brain wants to categorize things, but it can't because of this motion. You want to solve the problem, but it never gets solved. It's like when you read a really good book and the story never leaves you.”

“Grace in women has more effect than beauty. We sometimes see a certain fine self-possession, an habitual voluptuousness of character, which reposes on its own sensations and derives pleasure from all around it, that is more irresistible than any other attraction. There is an air of languid enjoyment in such persons, "in their eyes, in their arms, and their hands, and their face," which robs us of ourselves, and draws us by a secret sympathy towards them.”

“That politeness which we put on, in order to keep the assuming and the presumptuous at a proper distance will generally succeed. But it sometimes happens that these obtrusive characters are on such excellent terms with themselves that they put down this very politeness to the score of their own great merits and high pretensions, meeting the coldness of our reserve with a ridiculous condescension of familiarity, in order to set us at ease with ourselves.”

“Children model the behavior of adults, on whatever scale is available to them. Ours are growing up in a nation whose most important, influential men - from presidents to the coolest film characters - solve problems by killing people. ... We have taught our children in a thousand ways, sometimes with flag-waving and sometimes with a laugh track, that the bad guy deserves to die.”

“The whole power of cunning is privative; to say nothing, and to do nothing , is the utmost of its reach. Yet men, thus narrow by nature and mean by art, are sometimes able to rise by the miscarriages of bravery and the openness of integrity, and, watching failures and snatching opportunities, obtain advantages which belong to higher characters.”