Beautiful fabrics last; synthetics don't. Certain fabrics, such as linen or cotton, develop their own character over time.

The proper time to influence the character of a child is about a hundred years before he is born.

As Laurel Van Ness it's so much fun, and with that comes a creative outlet. You can be who you wanna be and be that particular character. I'm so thankful that Impact allows me to do that.

Everyone loves to praise me on my character, which I'm so thankful for. But that's a true testament speaking to my parents, how they raised me.

Of all the characteristics needed for both a happy and morally decent life, none surpasses gratitude. Grateful people are happier, and grateful people are more morally decent.

Industrialization based on machinery, already referred to as a characteristic of our age, is but one aspect of the revolution that is being wrought by technology.

Whether one welcomes or deplores it, nothing is more surely and exactly characteristic of modern times than the irresistible invasion of the human world by technology. Mechanism invading like a tide all the places of the earth and all forms of social activity.

I want to do a character in a one-woman show who's a yoga teacher from the Bronx. I could do the best accent: 'Raise yaw ahms up! Reach faw da sky!'

When I was in college, I had the good fortune to have Joyce Carol Oates as my writing teacher. She told me that I could take an aspect of myself, and from that one bit of personality, I can create a character. This is what I have done, particularly in my novels.

You know, a lot of those angry sort of Southern man characters that I've been doing are based on different people I might've had as, like, a soccer coach or as a teacher.

I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher, and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.

Jackson went from the professor's chair to the officer's saddle. He carried with him the very elements of character which made him odious as a teacher; but I never saw him in an arbitrary mood.

I loved the idea of making history interesting for kids! When Scholastic approached me about 'The 39 Clues', I immediately started going through the 'greatest hits' from my years as a social studies teacher, and picked the historical characters and eras that most appealed to my students.

I've always remembered something Sanford Meisner, my acting teacher, told us. When you create a character, it's like making a chair, except instead of making someting out of wood, you make it out of yourself. That's the actor's craft - using yourself to create a character.

The duties of a teacher are neither few nor small, but they elevate the mind and give energy to the character.

A child's learning is a function more of the characteristics of his classmates than those of the teacher.

Empathy is much bigger than sympathy. When the character is empathised with, that means you have succeeded as an actor. So even if it's a villain, the audiences don't hate you... they understand why you have turned into a villain.

Women are about the best lovers of nature, after all; at least of nature in her milder and more familiar forms. The feminine character, the feminine perceptions, intuitions, delicacy, sympathy, quickness, are more responsive to natural forms and influences than is the masculine mind.

Character is made of duty and love and sympathy, and, above all, of living and working for others.

With a film, you just don't have time to build sympathy for the character. But I think we're moving away from that in TV. With TV, you have a little more leeway to allow them to rise and fall and rise again and be much more complicated beings.

The comic novels I did when I was in my 20s had a harder edge - less sympathy for people. Or a sympathy that was harder to detect: Characters' foibles and obsessive bents were unrelenting, like caricatures.

I am really drawn to damaged characters, and I have a lot of sympathy for them. Making those complicated characters empathetic is something to strive for. It's too easy to create a good guy or a good girl.

It's important to find characters that share sympathy with a young audience, not just in the story but their role in the world.

I don't care about sympathy. I care about playing a character who's understandable and clear.