Tom Huddleston’S Quotes on Never stop dreaming

Never stop. Never stop fighting. Never stop dreaming

Ancient societies had anthropomorphic gods: a huge pantheon expanding into centuries of dynastic drama; fathers and sons, martyred heroes, star-crossed lovers, the deaths of kings – stories that taught us of the danger of hubris and the primacy of humility.

 Haters never win. I just think that’s true about life, because negative energy always costs in the end.

I grew up watching ‘Superman.’ As a child, when I first learned to dive into a swimming pool, I wasn’t diving; I was flying, like Superman. I used to dream of rescuing a girl I had a crush on from a playground bully.

When people don’t like themselves very much, they have to make up for it. The classic bully was actually a victim first.

For myself, for a long time maybe I inauthentic or something, I felt like my vice wasn’t worth hearing, and I think everyone’s voice is worth hearing. So if you’ve got something to say, say it from the rooftops.

You look at the greatest villain in human history, the fascists the autocrats, they all wanted people to kneel before them because they don’t love themselves enough.

I don’t think anyone, until their soul leaves their body, is past the point of no return.

I never like to make plans. It’s nice to just hang

I think we all see ourselves as the heroes in our own lives.

With any role, you’re extending yourself and acting out things that never happened to you.

The dream is to keep surprising yourself, never mind the audience.

It sounds clichéd, but superheroes can be lonely vain arrogant and proud. Often they overcome these human frailties for the greater good.

I was informed tester day that there’s a Twitter account for my laugh. Very hard to get used to things like that pretty amazing.

Loki in thorn’ is the most incredible springboard into a sort of excavation of the darker aspects of human nature. So that thrilling, coming back knowing that I’d built the boat and now I could sail into choppier waters.

The thing about playing gods, whether you’re playing Thor and Loki or Greco or characters in any mythology, the reason that gods were invented was because they were basically larger versions of ourselves.

Tony stark in ‘lion man’ helped wider audiences finally embrace the enormous talent of Robert Downey Jr.

I always found the extraordinary loss of life in the First World War very moving. I remember learning about it as a very young child, as an eight- or nine-year-old, asking my teachers what poppies were for. Every year the teachers would suddenly wear these red paper flowers in their lapels, and I would say ‘What does that mean?’

Chris Harmsworth is like Christopher Reeve in that he can do two things: he can wear a big red cape without a shred of self-consciousness. But he’s also funny as hell, and he’s so sweet. So with all the fish-out-of-water stuff, he’s so funny. So he does almost two jobs in a way

The thing about pelting gods, whether you’re playing Thor and Loki or Greco Roman gods or Indian gods or characters in any mythology, the reason that gods were invented was because they were basically larger versions of ourselves.

In our increasingly secular society, with so many disparate gods and different faiths, superhero films present a unique canvas upon which our shared hopes, dreams and apocalyptic nightmares can be projected and played out.

If the Loki in ‘Thor’ was about a spiritual confusion-‘who am i? How do I belong in this world?’ – the Loki in ‘Avengers’ is, ‘I know exactly who I am, and I’m going to make this world belong to me.’

Actors do tend to get pigeonholed. People want to know you are so they can put you in a box. It’s lovely to be known for such diametrically opposite roles.

Showing young children in these communities, that there are outlets for their feelings, that there is room in a pace for their stories to be told, and that they will be applauded-and it’s not about ego, it’s about connection that pain is everybody else’s pain.

My father and I used to tussle about me becoming an actor. He’s from strong, Presbyterian Scottish working-class stock, and he used to sit me down and say, ‘You know, 99 percent of actors are out of work. You’ve been educated, so why do you want to spend your life pretending to be someone else when you could be your own man?’

I thought theater people wouldn’t see me if I hadn’t trained. I didn’t want to just be the Brideshead guy, to spend the rest of my life wearing waistcoats. I got the chance to try everything. Not just Romeos, but pimps and grandfathers and even one role as a woman in a Naomi Wallace play called Slaughter City.

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