I know how to be the witness to her grief. I don't know how to be this kind of villain.
My conscience hath a thousand several tongues, And every tongue brings in a several tale, And every tale condemns me for a villain. Perjury, perjury, in the high'st degree; Murder, stern murder in the dir'st degree, Throng to the bar, crying all, 'Guilty!, guilty!
He looked like an evil male model, showing off what the fashionable college age villain was wearing to Harvard this year.
It began as most thing begin. Not on a dark and stormy night. Not foreshadowed by ominous here comes the villain music, dire warning at the bottom of a teacup, or dread portents in the sky. It began small and innocuously, as most catastrophes do. A butterfly flaps its wings somewhere and the wind changes, and a warm front hits a cold front off the coast of western Africa and before you know it you’ve got an hurricane closing in. By the time anyone figured out the storm was coming, it was too late to do anything but batten down the hatches and exercise damage control.
Just once, I want to meet the villain in a cheerful, brightly lit room. Possibly one with kittens.
You can figure out what the villain fears by his choice of weapons.
As I glanced at the phraseology of the research report, dull and unfathomable to outsiders like me, I thought that if you have the ambition to become a villain, the first thing you should do is learn to be impenetrable. Don’t act like Blofeld—monocled and ostentatious. We journalists love writing about eccentrics. We hate writing about impenetrable, boring people. It makes us look bad: the duller the interviewee, the duller the prose. If you want to get away with wielding true, malevolent power, be boring.
...Tunstell was not what one could describe as call subtle. His flaming red hair bobbed up with each pointed and articulated footstep as though he were some cloaked Gothic villain creeping across a stage.
Many women to whom I have preached the doctrine of freedom have weakly replied, 'But who is to support the children?' It seems to me that if the marriage ceremony is needed as a protection to insure the enforced support of children, then you are marrying a man who, you suspect, would under certain conditions, refuse to support his children, and it is a pretty low-down proposition. For you are marrying a man whom you already suspect of being a villain. But I have not so poor an opinion of men that I believe the greater percentage of them to be such low specimens of humanity.
I'd write of people and places like I knew, and I'd make my characters talk everyday English; and I'd let the sun rise and set in the usual quiet way without much fuss over the fact. If I had to have villains at all, I'd give them a chance, Anne--I'd give them a chance. There are some terrible bad men the world, I suppose, but you'd have to go a long piece to find them...But most of us have got a little decency somewhere in us. Keep on writing, Anne.
Shakespeare villains were extraordinary. Macbeth, Iago, Richard III... They're so richly layered that a British actor would find it almost impossible to create a two-dimensional villain, if he's explored in his early years or continues to explore his Shakespearean heritage. You can almost not judge them, if they're played really well.
Joss Whedon said to me, 'If you think you are taking over the show, you have got another think coming.' He said, 'You are here only because I don't want to kill a villain off every week. I want my villains to be more interesting and multifaceted and then die.'
In Hollywood they usually cast me as villains or priests
I love playing all kinds of roles. I hope it doesn’t sound too pretentious, but I always feel human nature is like a piano, and there are 88 keys, and there are some white keys and some black keys, and each character is a different chord on the piano. Basically, I hope that in the course of my life, I will have played all 88 keys. So, I’ll have played heroes and villains and princes and kings and warriors and beggars and thieves and lovers and fathers and wizards and all of those things. That is why I’m an actor… I love studying people.
Oh, I get it, it's simple. PG means the hero gets the girl, 15 means that the villain gets the girl, and 18 means everybody gets the girl.
Villains with a conscience have this sad realization of who they are, and the monster they've become — there's a sense of regret. So at the end of these movies there's a dramatic resonance that really stays with the audience.
I dont think playing a villain is my greatest talent.
I've always had an incredible interest in the villains, which are a lot more fun to play.
I love playing villains. When you're a bad guy, you get to do many real nasty things. It's a lot of fun.
Part of my strength as an actor comes from what I've learned all these years: when you play a villain, you try to get the light touches; when you play a hero, you try to get in some of the warts.
Tell a scoundrel, three or four times a day, that he is the pink of probity, and you make him at least the perfection of "respectability" in good earnest. On the other hand, accuse an honorable man, too petinaciously, of being a villain, and you fill him with a perverse ambition to show you that you are not altogether in the wrong.
Spider-Man is a genuine American myth with a dark, primal power, but it's also got this great superhero, and - hey! - he can fly through the theater at 40 miles an hour. It's got villains, it's got skyscrapers, it's colorful, it's Manhattan. I knew it would be a challenge, but I saw the inherent theatricality in it, and I couldn't resist.
Die Hard represents the class of modern action pictures and the standard by which they must be judged. Few films falling into the "mindless entertainment" genre have as much going for them as this movie. Not only is it a thrill-a-minute ride, but it has one of the best film villains in recent memory, a hero everyone can relate to, dialogue that crackles with wit, and a lot of very impressive pyrotechnics.
When I wrote my eighth thriller, Inside Out, in 2009, the villains were a group of CIA and other government officials who colluded to destroy a series of tapes depicting Americans torturing war-on-terror prisoners.
Imagine a pantomime directed by Quentin Tarantino, where villains are booed, heroes are blood-stained, the body-count is high, the entertainment pulsating, the language filthy and the audience screamed behind you'' as tackles hurtled in like boulders crashing down a mountain-side. Such was the epic drama that gripped the Emirates yesterday. A derby crammed with sound, fury and significance ended with everyone grasping for breath, with Arsenal regaining the high ground of the Premier League... This was the Premier League at its raw, mistake-filled, mesmerising best. Utterly compelling.
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