Top 1200 Character Flaws Quotes & Sayings - Page 2

The first thing that happens is the cleansing of the former character. I don't think a lot of actors talk about it, but there is usually a process where you essentially purge yourself of the character played prior to the movie. Then you want to think about what the character represents, and you write down all of the elements about this character and then take the time to find some synchronicity and start breathing the character.

What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.

When reputable scientists correct flaws in an experiment that produced fantastic results, then fail to get those results when they repeat the test with flaws corrected, they withdraw their original claims. They do not defend them by arguing irrelevantly that the failed replication was successful in some other way, or by making intemperate attacks on whomever dares to criticize their competence.

From the beginning it was drilled into me that a golf course was a place where character fully reveals itself -- both its strengths and its flaws. As a result, I learned early not only to fix my ball marks but also to congratulate an opponent on a good shot, avoid walking ahead of a player preparing to shoot, remain perfectly still when someone else was playing, and a score of other small courtesies that revealed, in my father's mind, one's abiding respect for the game.

Reputation is seeming; character is being. Reputation is manufactured; character is grown. Reputation is your photograph; There is a vast difference between character and reputation. Reputation is what men think we are; character is what God knows us to be. Reputation is seeming; character is being. Reputation is the breath of men; character is the inbreathing of the eternal God. One may for a time have a good reputation and a bad character, or the reverse ; but not for long.

When a well-rounded character takes over, he doesn't lecture you about his history and how he is misunderstood. He lives his life, does things that are unexpected, and makes you laugh and cry because of his human flaws and foibles.

A stranger can see in an instant something in you that you might spend years learning about yourself. How awful we all are when we look at ourselves under a light, finally seeing our reflections. How little we know about ourselves. How much forgiveness it must take to love a person, to choose not to see their flaws, or to see those flaws and love the person anyway. If you never forgive you’ll always be alone.

I certainly don't feel like I have the perfect body type... It's through your own eyes. And for every female, you're going to see flaws in that; you're going to see flaws regardless. So for me, it's just important to have that confidence and self-esteem no matter what body type you have.

When you're the guy inside of a character and you've lived with it for almost two years, you're always a bit defensive about the character, and you want to root for the character you're playing.

Taking on an iconic character is difficult, sure, people associate different actors with a character that you're playing, but there's something in rehearsing and developing a new character.

My character should not be ordinary, cliched, and if I feel that it's difficult to do this character, I take up that challenge to get into his character.

Any character that you come up with or create is a piece of you. You're putting yourself into that character, but there's the guise of the character. So there's a certain amount of safety in the character, where you feel more safe being the character than you do being just you

When you play a character, you bring yourself into the character. You get a chance to shine and show your translation for the character and her state of mind.

I can get my head turned by a good-looking guy as much as the next girl. But sexy doesn't impress me. Smart impresses me, strength of character impresses me. But most of all, I am impressed by kindness. Kindness, I think, comes from learning hard lessons well, from falling and picking yourself up. It comes from surviving failure and loss. It implies an understanding of the human condition, forgives its many flaws and quirks. When I see that in someone, it fills me with admiration.

There is a string that connects us that is not visible to the eye. Maybe every person has more than one soul they are connected to, and all over the world there are those invisible strings... Maybe the chances that you'll find each and every one of your soul mates is slim. But sometimes you're lucky enough to stumble across one. And you feel a tug. And it's not so much a choice to love them though their flaws and through your differences, but rather you love them without even trying. You love their flaws.

When you are writing, you have to love all your characters. If you're writing something from a minor character's point of view, you really need to stop and say the purpose of this character isn't to be somebody's sidekick or to come in and put the horse in the stable. The purpose of this character is you're getting a little window into that character's life and that character's day. You have to write them as if they're not a minor character, because they do have their own things going on.

'My character wouldn't do that.' That was always my favorite thing people say: 'My character wouldn't do that.' I said, 'Well, it says right here in this script your character does that.'

Character, character, character. First, second and third ... we were pretty rusty initially. When you have a break for a few weeks you get a bit of rust.

It's a challenge of to write a narrator who is doing something that is really unlikeable and morally questionable. A lot of times, you read a book because you like the character, you are cheering for the character; you want the best for the character.

Heroes became heroes flaws and all gives us hope. "You mean I don't have to be perfect to fulfill my Dream, to make a contribution?" Hardly. It takes commitment, courage, and passion to live a dream and make a contribution. Heroes had these qualities along with their flaws.

A woman can be demure, lady-like and the most prim and proper character, and still have a toughness and resiliency as apparent as a superhero-type female character or a warrior or soldier type. It's all about the story, the character, and the course of events in that piece of work and how that character is presented.

I just didn't want to get bored playing a character, and that's kind of the benefit of doing films; you've lived with a character for four or five months and that's it, and you walk away from that character and you feel like you told a story.

Even Bertrand Russell, who fancied he saw flaws in Christ's character, confessed nonetheless that 'What the world needs is love, Christian love, or compassion.' But this belies a belief in what most others acknowledge, namely, that Christ was the perfect manifestation of the virtue of love.

Forgiveness is the act of admitting we are like other people. We are prone to make mistakes that cause confusion, inflict pain, and miscommunicate our intentions ... The only choice we have is to reconcile ourselves to our own flaws and the flaws of other people, or withdraw from the community.

I think accurately presenting a trans character means not presenting them as perfect - I think there's been a pressure to do this with trans characters. They can have no flaws because they must represent the entire trans community.

When I was growing up, we learned our history almost as lives of the saints. And it came as a shock, "Oh, Jefferson had slaves?" It always comes as a shock to us that elevation to the White House didn't somehow cleanse them of all their deep character flaws.

When I'm writing, I try to have the mask of my character on as I'm walking through the world. When I'm not at my desk, the rest of the time, I try to stay in that character and see the world the way that character would It's almost like method acting in a way — keeping the character close the way the actor keeps a script close and always tries to be in character.

I write from this tight third-person viewpoint, where each chapter is seen through the eyes of one individual character. When I'm writing that character, I become that character and identify with that character.

So yes. It had flaws, but what does that matter when it comes to matters of the heart? We love what we love. Reason does not enter into it. In many ways, unwise love is the truest love. Anyone can love a thing because. That's as easy as putting a penny in your pocket. But to love something despite. To know the flaws and love them too. That is rare and pure and perfect.

If I speak with a character’s voice it is because that character’s become so much part of me that … I think I have the right then to imagine myself into the skin, into the life, into the dreams, into the experience of the particular character that I’ve chosen.

Every time I make a new game, I put all of my effort completely into that game. It's like putting all your effort into a new child that's being born. Once the project is done, I can step back and look at it objectively, which is when I can see a lot of flaws. That's when I start to make a new game that tries to fix some of those flaws.

What we'd consider a positive role model, I think it's impossible to actually be a role model. You'll have your flaws or defects of character, regardless. You just speak like a positive role model, and that's just something that you're being conscious of, and you make the decision, "I want to say positive things."

I never like to judge the character. I just have to leave my feelings of pity, or fear, about a character - whatever I feel towards the character, I try to leave to one side. It's good to have them, but it doesn't help me. I can't act those things. I just to play the character as truthfully as I can.

There's never a mistake in the universe. So if your partner is angry, good. If there are things about him that you consider flaws, good, because these flaws are your own, you're projecting them, and you can write them down, inquire, and set yourself free. People go to India to find a guru, but you don't have to: you're living with one. Your partner will give you everything you need for your own freedom.

That was one of the reasons why I wanted to tell the story of Colin Price. I saw someone in this fictionalized political character that was trying to do something important for his city. He meant well, but then you see that the human flaws had really derailed his past. It seems to be happening more and more in our country. I wanted to hold a mirror up to that.

Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.

When you are writing a character, what the character says is obviously crucial. But what the character doesn't say is absolutely as important as his words.

It's really an organic sort of process. You start off with the character on the page. You fall in love with that character and you have to represent that character well and I think it's just an evolution there. Using the accent and speaking the lines with the accent in fact opens the door to who the character really is.

The house, while sound in wind and limb, was described as being of 'no character.' We didn't think then that it had anything but character, rather sinister perhaps, but definitely character.

The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.

Bond is a classic archetype character, a character that's embedded in our heads forever, one of a lone warrior setting out to avenge a nation - and you find that character across cultures.

I believe in the fact that to portray a character convincingly, you need to live that character, own that character. You have to be earnest with every line that you deliver. However, it doesn't mean that you have to cut off your true self.

When you start digging into things like character, though, the notion that people have high character or low character is very strong. What's crazy is that my thinking is not a new insight. The very first large-scale study of character, still one of the largest ever, was done in the early 1900s by Hugh Hartshorne, an ordained minister and a scientist.

My thing was always more character-driven comedies, not sketch comedy - not that there's not room for both or one isn't enjoyable, just my personal taste, I like movies that comedy comes from out of flaws of people, things that are uncomfortable, out of tragedy.

I wrote a song on the record called 'Flawed Design' and it's basically looking at that, and it was just exploring how everybody obviously has flaws. I think to embrace those flaws - enjoy them, embrace them - and actually be a real person is something that a lot of people struggle with, myself included.

We’re miserable because we think that we are mere individuals, alone with our fears and flaws and resentments and mortality. We wrongly believe that our limited little egos constitute our whole entire nature. We have failed to recognize our deeper divine character.

One of the great myths in America is that sports build character. They can and they should. Indeed, sports may be the perfect venue in which to build character. But sports don't build character unless a coach possesses character and intentionally teaches it. Sports can team with ethics and character and spirituality; virtuous coaching can integrate the body with the heart, the mind, and the soul.

Believe it or not, every Marvel character is someone's favorite character. There's a fan out there who absolutely believes that their character should have their own television show.

I think it always helps when you build a character, and then, you actually step into that character's wardrobe, something else happens. Another angle of the character comes to life.

It’s amazing how lonely you can feel and like nobody understands…The moment you are vulnerable, someone always reaches out….They go through the same things. I want them to feel comfortable knowing that I have flaws as wells. I want them to know those flaws. I’m afraid of the pedestal…I want to be a peer to my fans

I am playing the character of Sanjana in 'Race 3' and it is very a dark character in the initial phase of the film but towards the end, it gets transformed into a positive character.

I think, for every actor, the most challenging part of playing a character, specially a real-life character, is to convince yourself that you are the character.

I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?

Real religion is about, developing real character; character of compassion, character of humility, the character of determination to grow in all circumstances.

If I'm not clear with the character, I can't do anything with it. But once I get that character, the possibilities are endless. When you have such a defined character, I feel like I can actually read the phone book and make it funny.

I'm troubled by how much I like Rowan Williams. I think it reveals character flaws in myself that I'd rather not think about. The softly spoken soon-to-be-former Archbishop of Canterbury is my secret crush, my weird pash, and my guilty pleasure.

All of us have areas of weakness. God wants these character flaws to show us how totally dependent we are upon Him. When we handle them properly, they drive us into a deeper, more intimate relationship with the Lord. But uncontrolled weakness wreaks havoc in a person's life.

I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.

Confronting the US made him [Hugo Chavez] a target for demonization. Partisan and/or lazy journalism exaggerated his faults, ignored his virtues, and downplayed the influence of strident and on occasion anti-democratic opponents. The flip side is his anti-imperialist posturing so dazzled his cheerleaders they overlooked his flaws, flaws which worsened over time, and they created their own caricature.

I got a call from a mutual friend of ours, Charles King, who's also the executive producer. [Steven Caple Jr and I] had a conversation about it. I read it. We kind of finished each other's sentences when it came to the nuances and personality flaws that the character had, and some stereotypes and things we were trying to stay away from. We agreed on that as well. He just kind of allowed me to run rampant with the ideas. As we paced ourselves through, we developed Turquoise.