Top 1200 Weak Character Quotes & Sayings - Page 5

The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.

I personally am happy doing a finite series as I can't play a single character for three years. Hats off to the actors who stay in a character for three four years and enjoy every moment of their character.

In 'Road,' my character is linear and uni-dimensional. It was more of a reacting character. I am a foil to the other characters in the film. It is the most normal character in the most abnormal, extraordinary film.

Conservatives - they say, 'Oh, Putin is a real leader, he's a true man, he stays firm on his position, he's not like this weak Obama.' And also they are very much wrong. Because Putin is not a strong man; he is actually a man that put himself into a corner, and he's fighting and biting from that corner, being very weak.

You can’t make a weak man strong by making a strong man weak

Musically, though, you're a character and you're singing a song. If you're not your own character, you're the character in the song, most of the time. Even blues musicians, a lot of them who were the most realistic, at times, they were singing a song and portraying a character in the song. There's something to be said for getting involved in the emotion of a song, too, with the characters.

I think the best way to become a character is by osmosis as opposed to thinking directly about stuff. The more material that you have and understand and have a going in, then the more complex your character and the understanding of your character will be.

Because as an actor, I really feel you cannot judge a character. You have to totally commit to that character. And for me to totally commit to the character, I have to find those places where I understand the sequence of behavior.

I was hesitant to do 'Mulan II.' For me, I felt like the story that needed to be told, this legendary character of Mulan, was already encompassed in the first movie, and I was worried they would try to create this crazy cartoon character out of this legendary character of China.

Humanity looks upon Jesus the Nazarene as a poor-born Who suffered misery and humiliation with all of the weak. And He is pitied, for Humanity believes He was crucified painfully. . . . And all that Humanity offers to Him is crying and wailing and lamentation. For centuries Humanity has been worshiping weakness in the person of the Savior. The Nazarene was not weak! He was strong and is strong! But the people refuse to heed the true meaning of strength.

The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.

It makes it fun. When an actor plays a character, you want what that character wants. Otherwise it doesn't look authentic. So I really want to defeat Jimmy - I mean Jimmy as the character.

Appear weak when you are strong, and strong when you are weak.

I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.

In other words, character is far more important than intellect to the race as to the individual. We need intellect, and there is no reason why we should not have it together with character; but if we must choose between the two we choose character without a moment's hesitation.

It had the effect of cementing the Anglo-American alliance. What's the good of having bases if when you want to use them you're not allowed to by the home country. It made America realise that Britain was her real and true friend, when they were hard up against it and wanted something, and that no one else in Europe was. They're a weak lot, some of them in Europe you know. Weak. Feeble.

Republicans can't run their normal playbook on me that they try to run on Democratic candidates. They can't say I flip-flop because I don't. They can't say I'm weak on defense because I'm not. They can't say I'm weak on values because I'm not. They can't say I'm a big taxer and a big spender.

I don't like the word 'strong,' because a strong character is never an interesting character. A character is made interesting by their vulnerabilities and their weaknesses.

I was never great, but I was a good [basketball] player, and I could play seriously. Now I'm like one of these old guys who's running around, and the guys I play with, who are all a lot younger, they sort of pity me and sympathize with me. They tolerate me, but we all know that I'm the weak link on the court. And I don't like being the weak link.

I came from stage in high school, and on stage you kind of overdo with putting on a character a little bit. Sometimes you become a character and sometimes the character becomes you.

The weak and the defenseless in this world invite aggression from others. The best way we can serve peace is by removing the temptation from the path of those who think we are weak and, for that reason, they can bully or attack us. That temptation can only be removed if we make ourselves so strong that nobody dare entertain any aggressive designs against us. Pakistan has come to stay and no power on earth can destroy it

What was it that obliged Jerome to write his book, Concerning Illustrious Men? It was the common reproach of old cast upon Christians, 'That they were all poor, weak, unlearned men.' The sort of men sometime called 'Puritans' in the English nation have been reproached with the same character. . . But when truth shall have liberty to speak, it will be known that Christianity never was more expressed unto the life than in the lives of the persons that have been thus reproached.

I abhor badly-written characters and any character, be it man, woman, any character in the film. If it is a well-written character, it will come across as strong.

When writers don't know what to do with a character, they build up the supporting cast and universe to kind of hide that fact. After a while, you can no longer see the character for the underbrush. When that happens, you need to bring out the weed-whacker to clear some of that away so you can focus on the main character.

There is no one-size-fits-all process. It differs from character to character and priority to priority. Every project has a different priority, and you have to be agile enough physically as well as mentally to shift from one character to another. I think I am fairly decent in that.

I don't care if you hate me or if you like me, as long as somebody gives me a character that is really a character to play. It's fun to be able to have a character and have a director that can direct you into a character. I'm just so happy that I got a good role. I don't care if it's bad or if it's good, and I don't care if it's drama or comedy. They are just so rare to come across.

You make New Year's resolutions. And you make them into the teeth of old resolutions which were different. Then you don't keep your new resolutions and you tell yourself you are weak-willed. You aren't weak-willed, you are simply obeying yourself as of yesterday.

As the character talks and moves, the world around him is slowly revealed, just like dollying a camera back for a wider look at things. So all my stories start with a character, and that character introduces setting, culture, conflict, government, economy... all of it, through his or her eyes.

The anger of the weak never goes away, Professor, it just gets a little moldy. It molds like a beautiful blue cheese in the dark, growing stronger, and more interesting. The poor and the weak die with all their anger intact and probably those angers go on growing in the dark of the grave like the hair and the nails.

To ask for help does not make you weak. And that was something I felt after I was carjacked. I felt shame. I felt embarrassed. I felt weak about it. That's not the case at all. Once I did get help, I managed to overcome it and make something special with it, instead of not doing anything about it.

i learned that predators don't intentionally choose the weak or old or sick. they kill what they can, which means the slow members of the pack. thus, they strengthen the very gene pool they're feeding from. the threshold for what is weak, old or sick gets raised, and the strength, speed and instincts of new generations of hunters grow. a beautiful, self-perpetuating system where evolution is the antithesis of entropy.

The greatest error of a man is to think that he is weak by nature, evil by nature. Every man is divine and strong in his real nature. What are weak and evil are his habits, his desires and thoughts, but not himself.

Unlike national markets, which tend to be supported by domestic regulatory and political institutions, global markets are only 'weakly embedded'. There is no global lender of last resort, no global safety net, and of course, no global democracy. In other words, global markets suffer from weak governance, and are therefore prone to instability, inefficiency, and weak popular legitimacy.

The fundamentals for me are character and conflict. I put character first because readers will be indifferent to conflict if they are indifferent to the character who is experiencing it.

I will be harsh and stern against the aggressor, but I will be a pillar of strength for the weak.I will not calm down until I will put one cheek of a tyrant on the ground and the other under my feet, and for the poor and weak, I will put my cheek on the ground.

The script that I fell in love with and adored was 'Jane the Virgin'... but every line in the pilot was essentially, 'Why did you keep my daughter a secret all of these years?' I didn't know any direction my character was going - was it going to be a dramatic character, a comedic character? - I didn't know.

Shows like 'Empire'... one of the most profound powerful things is that there's a gay male character who is loved. That character is going to save a lot of people's lives. Black families are confronting the idea that a gay black character can be human.

I'd been concerned all along that the character of the president in the West Wing pilot would throw the ensemble out of whack, that that character would simply take up all the oxygen in a room. I wanted to hold off bringing this character in until the last possible moment.

The flop bet is a useful tactic for both old-school and new-school players because it can be effective if you are strong, weak, or somewhere in between. Betting out weak on a bluff can allow you to pick up an uncontested pot while betting out strong gives you the opportunity to control the size of the pot.

I have always been a big fan of the character and am more of a moviegoer than a comic book guy, there is always something about the character of Batman that is very elemental. There is a great powerful myth to the character and romantic element that draws from a lot of literary sources

Never say any man is hopeless, because he only represents a character, a bundle of habits, which can be checked by new and better ones. Character is repeated habits, and repeated habits alone can reform character.

Better to be a strong man with a weak point, than to be a weak man without a strong point. A diamond with a flaw is more valuable that a brick without a flaw.

Perhaps because my background is theatrical, I have a great affinity with the classics. Hamlet has always been a character of great interest to me and a character I would really love to play. Or a character in a Tennessee Williams play, maybe Tom in 'The Glass Menagerie.'

There is nothing like being able to develop a three-dimensional character over a long period of time. Sometimes you aren't able to fully portray a character because you only have a couple of scenes to do it in, and you don't get the full life and background of that character.

It's relatively easy to create an ambiguous character. Any conglomeration of likable and unlikeable traits, chosen at random, will result in an ambiguous character. Getting an audience to deeply identify with a character, on the other hand, is one of the hardest things in the world to do.

Prejudice is the conjuror of imaginary wrongs, strangling truth, over-powering reason, making strong people weak, and weak people weaker. God gave us the large-hearted charity which "beareth all things, believeth all things, hopeth all things, endureth all things," which "thinketh no evil!"

All truths are erroneous. This is the very essence of the dialectical process: today's truths become errors tomorrow; there is no final number. This truth (the only one) is for the strong alone. Weak-nerved minds insist on a finite universe, a last number; they need, in Nietzsche's words, "the crutches of certainty". The weak-nerved lack the strength to include themselves in the dialectic syllogism.

People always say, "You played such a strong character." I remember someone said that to me when I played a role in Shame, and she was a suicidal mess. I said, "She's not strong at all; she's incredibly weak." But "strong" to people means "real." It means you believe that's a person who exists, as opposed to some two-dimensional depiction of women.

If your parents were strong in one way and weak in another, you will be strong in the same way and weak in the same way. Even though you detest the weakness in them, you will find that you will do exactly the same things because they imprinted you.

I'm a bug on acting, which distinguishes Second City from a lot of other revues. It comes from the character, the behavior, and not from the jokes. I don't think jokes are funny. Humor comes out of character and out of situations the character is in.

You select the colors of your thoughts; drab or bright, weak or strong, good or bad. You select the colors of your emotions; discordant or harmonious, harsh or quiet, weak or strong. You select the colors of your acts; cold or warm, fearful or daring, small or big.

Wolves which batten upon lambs, lambs consumed by wolves, the strong who immolate the weak, the weak victims of the strong: there you have Nature, there you have her intentions, there you have her scheme: a perpetual action and reaction, a host of vices, a host of virtues, in one word, a perfect equilibrium resulting from the equality of good and evil on earth.

Compassion is for the very strong. Compassion does not come to the weak. People who are unkind, bullies, use rude language, are not strong people. They are very weak people.

Character is distilled out of our daily confrontation with temptation, out of our regular response to the call of duty. It is formed as we learn to cherish principles and to submit to self-discipline. Character is the sum total of all the little decisions, the small deeds, the daily reactions to the choices that confront us. Character is not obtained instantly. We have to mold and hammer and forge ourselves into character. It is a distant goal to which there is no shortcut.

I love Archie. I love Jughead. I like Reggie. I think my favorite character in the show is Betty. Obviously, I can't imagine myself playing that character, but if I had to choose a character, I really love Betty.

To accuse another of having weak kidneys, lungs, or heart, is not a crime; on the contrary, saying he has a weak brain is a crime. To be considered stupid and to be told so is more painful than being called gluttonous, mendacious, violent, lascivious, lazy, cowardly: every weakness, every vice, has found its defenders, its rhetoric, its ennoblement and exaltation, but stupidity hasn't.

A strong nation, like a strong person, can afford to be gentle, firm, thoughtful, and restrained. It can afford to extend a helping hand to others. It's a weak nation, like a weak person, that must behave with bluster and boasting and rashness and other signs of insecurity.

If you understand your character and feel like it's a collaborative process, you're more inclined to dive into the deep end and fight for your character and feel passionate about your character, and that passion comes across on screen.

Every character thinks differently, and every character has a different energy and way that they tick. But to find a character like Kai, who is so far that he doesn't even feel things, he is so different from me. That is the most exciting part.

I believe in method acting. Whenever I'm working on a character, I start behaving like him. I start doing these things which the character would normally do. Maybe that's the way I function as an actor, and I believe in it. And that's how I try and portray a character.