Wentworth Miller Quotes

Contradiction is the heart and soul of character and drama. You're always looking for it. I loved her so much I hit her; that's character. I loved her so much I hit her again; that's even more character.

I don't intentionally try to find the scripts with unattractive characters, but I think that if a character is described in a script as heart-stoppingly beautiful, and there's nothing else said about her, it just doesn't hold a lot of interest for me.

I'd always wanted to do a film than TV show because film is always where my heart has been. I like diving into the character for a few months, and then leaving it behind. I love the idea of that.

I feel like I went from being a boy to being a man, in some respects, through the help of Dustin Hoffman.

Aunt May's values and Spiderman's traumas are kind of what's defined him as a young boy and now that he's becoming a young man, she's there to provide that safe place where he can still be a kid if he needs to be, or know that he has a home base as he's going through all these physical changes. So as long as those essentials are there, we can work on finding the character together.

I wouldn't think of my characters' moralities at all. And I think I identify fully with every main character I've written about and would say that I am them pretty much. So in terms of that I don't think I'm similar to Bret Easton Ellis .

The best characters are always wretchedly flawed

The mentoring program [of the Steve Harvey foundation] is to teach young boys the principles of manhood.

One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.

I can tell by my own reaction to it that this book is harmful." But let him only wait and perhaps one day he will admit to himself that this same book has done him a great service by bringing out the hidden sickness of his heart and making it visible.— Altered opinions do not alter a man’s character (or do so very little); but they do illuminate individual aspects of the constellation of his personality which with a different constellation of opinions had hitherto remained dark and unrecognizable.

What's amazing about the show ["Girls"] - the first (season) is about the girls and then the second (season) is about the boys as well. There's something so human about it.

No one who had ever seen Catherine Morland in her infancy, would have supposed her born to be a heroine... But from fifteen to seventeen she was in training for a heroine.

Since I hold no judgments against my characters, no matter how heinous they might seem, I present them as real people with their own moral centers. We might feel those moral centers are mis-calibrated, but they are there and are the rudders that propel them. This makes reading my work a visceral roller coaster, 'cause the reader must embark on the journey of the protagonist equipped only with his or her own moral center.

I wanted Yoda to be the traditional kind of character you find in fairy tales and mythology. And that character is usually a frog or a wizened old man on the side of the road. The hero is going down the road and meets this poor and insignificant person. The goal or lesson is for the hero to learn to respect everybody and to pay attention to the poorest person because that's where the key to his success will be.

I think even the characters that are fundamentally evil and wrong, I want people to really love them. I think that's important to writing believable characters. They don't have to be likable but they have to be loved, at least by the author.

I have always said the success of the show has stemmed from our audience being able to relate to the characters on different levels - being based on the universally loved Arthurian legend is only a tiny part of its success - it's a story about acceptance and growing up. The breathtaking finale of this series leaves you with no doubt that characters have been on their journeys and had their stories told - it's completely the right time to draw our telling of the story to a close.

Within our whole universe the story only has the authority to answer that cry of heart of its characters, that one cry of heart of each of them: "Who am I?"

At school boys become gluttons and slovens, and, instead of cultivating domestic affections, very early rush into the libertinism which destroys the constitution before it is formed; hardening the heart as it weakens the understanding.

I was thinking about that. I was thinking, this is like our Boyhood; this is like our getting together over 12 years to make - this our Apehood! I mean, this is it! For me, the relationships, all of those things, over such a long period of time now with actors, but also seeing the characters grow, develop, and change, and go through different situations.

There is no miraculous change that takes place in a boy that makes him a man. He becomes a man by being a man.

In times past there were rituals of passage that conducted a boy into manhood, where other men passed along the wisdom and responsibilities that needed to be shared. But today we have no rituals. We are not conducted into manhood; we simply find ourselves there.

It depends on the story and the filmmaker. And it depends on the character, and the heart and soul of the person that I see on the page, and if it resonates with something that I think I can summon in myself.

Writing fiction means putting a lot of what you believe about the world at risk, because you have to follow your characters.

The price of peace is righteousness. Men and nations may loudly proclaim, 'Peace, peace,' but there shall be no peace until individuals nurture in their souls those principles of personal purity, integrity, and character which foster the development of peace. Peace cannot be imposed. It must come from the lives and hearts of men. There is no other way.

the heart of religion is not altered states but altered traits of character. For me, then, the test of a substance's religious worth or validity is not what kind of far-out experience it can produce, but is the life improved by its use? That's the test. Now, on that score, if you remove the "religious cocoon," the experiences don't seem to have much in the way of discernible, traceable effects.