Top 1200 Weakness Of Character Quotes & Sayings - Page 15

Most of the comedy characters I played have been extensions of my own personality and very similar to Mike Channel. It's a weird eclectic mixture of your genuine character and the character you portray.

Strength is incomprehensible by weakness, and, therefore, the more terrible.

Strength is a facade for the proud, weakness is a mask for the lazy.

My approach to the work is the same, whether I had the lead or a supporting role. I consider myself a character actor in the true sense of the word. Unless I'm doing my autobiography, I'm playing a character.

The strength of criticism lies in the weakness of the thing criticized.

The force of arms only reveals man s weakness.

When I create a character, particularly my central character, I want someone who is interesting and feels real and who might have quite a few virtues but is unlikely to be perfect, who hasn't necessarily made all the right choices.

I try to avoid barbecue potato chips. They're my weakness.

My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.

I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.

I'm an actor, I created the character myself originally. I do tell the fans I appreciate that they think he's real. It all finally comes down to the writers who really got the character and wrote so many memorable lines.

The Kettlebell is an Ancient Russian Weapon Against Weakness

When I was acting, I got trained in creating a character as a three-dimensional person. If you're doing it right you should be able to draw an audience into the character's world and make them feel their fears.

Every characteristic of my character and my moves always came from my real life. My character is kind of close to my real personality.

...Intelligence and character of the masses are incomparably lower than the intelligence and character of the few who produce something valuable for the community.

Pain is the body's way of ridding itself of weakness.

What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

Undeniably, character does count for our citizens, out communities, and our Nation, and this week we celebrate the importance of character in our individual lives... core ethical values of trustworthiness, fairness, responsibility, caring, respect, and citizenship form the foundation of our democracy, our economy, and our society... Instilling sound character in our children is essential to maintaining the strength of our Nation into the 21st century.

There's no need for a female character that does things like a male character; that's not what makes interesting female characters in my view.

Emotions are my weakness. It is in my blood. It is very difficult to control.

I need to be able to write a poem after every film and to kind of cleanse myself from the character because for about three months or so, I'm constantly living through the character's eyes.

When I'm inside the character, I feel like I'm a different person, and then when you see that character on screen and I see that it's me, I find that disappointing.

Man's greatest weakness is his love for life.

Patience is the strength of the weak, impatience is the weakness of the strong.

The biggest problem Haiti has is the weakness of its public institutions.

Dealing with depression effectively is a mark not of weakness, but of strength.

I would love to do an anthology show based on the character of Jesse B. Semple that Langston Hughes wrote about. He's sort of a Forrest Gump character in the midst of 20th century Harlem.

The smartest thing I ever did was to hire my weakness.

Lack of fairness to an opponent is essentially a sign of weakness.

In 'Out of the Dark,' I'm talking about my own life. I'm not talking as a character or speaking as a character. I was not as free as when I write fiction.

Weakness is more opposed to virtue than is vice.

The weakness of little children's limbs is innocent, not their souls.

It makes it easier, if you can't do an American accent. I don't know. It's different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character's point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He's such a brilliant actor and he is so prepared. He doesn't have to warm himself up to be in a scene. He's just in it. It draws you in, in a way.

There were episodes where I would wear seven or eight outfits. It took a lot of time to get those together. What the character wears is very essential to how I create the character.

I'm an actor. I'll take a lead if it's offered. The really good actors can fill a character, no matter what the role is. A good leading man is a character actor; a good character actor can be a leading man.

When you get to play a character that's in love, it's cool. Once you have love as a motivator in a story, your character is free to do anything.

In 'Kalank,' I am playing a character, which is quite strong, quiet a little complex yet interesting, that drew me towards the character when I heard the narration from director Abhishek Varman.

The first thing I read was of my character on the phone talking to Sydney's fiance. Though short, it was so beautifully written, and it made me laugh. I thought if I wanted to play a character, this would be it.

You just play what a writer writes, in terms of what a character chooses to do and how a character chooses to deal with their various relationships.

On the last day of every character I've ever played, I lay the clothes out on the floor with the shoes and socks, so that it looks like the character has literally vanished. That's the way you have to leave them.

If you can find a way your character moves, you know more about your character than you'd ever dream.

I didn't really look like a character actor, yet those were the roles I loved to play. If you were a character actor who didn't necessarily look like a character actor, you had to play bad guys.

That's what we do in the WWE: we tell stories; we're characters. We go into the ring, and my character is telling a story in the ring against another character.

Never let a person's weakness get in the way of their strength.

Liberals exploit weakness; conservatives offer strength.

You saw his weakness, and he will never forgive you.

Adversity is a crossroads that makes a person choose one of two paths: character or compromise. Every time he chooses character, he becomes stronger, even if that choice brings negative consequences.

You get to know a character that you play on-stage in a pretty profound way over a length of time. I don't want to sound highfalutin and say you become the character, you just start bringing more and more of yourself to the part until the character and actor, it's hard to tell them apart. It's some weird amalgam. In film, because of the period of time, I don't know that you ever get that deep into it.

I would rather be adorned by beauty of character than jewels. Jewels are the gift of fortune, while character comes from within.

My weakness is wearing too much leopard print.

You want, in a sense, to relate to the main character, so often, the main character POV is a bit more of a blank slate.

I want to read about a character doing something fairly quiet where I can picture who the character is, and what their attitude towards the world is - which I'm a lot more interested in than what they do under the pressure of a gunfight.

I prefer not to wink out from behind the character as myself, saying to the audience, "It's just me here, right, guys?" Peter Sellers is my model, and he didn't do that - he wore his character from head to toe.

I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he's made of sugar.

My history is that I will create a character, and they will have a book to themselves, and then I'll integrate the character into the larger world of all my books.

Weakness arouses evil. The American people know this.

Of all human weakness obsession is the most dangerous. And the silliest.

The more a character wants and the less a character has the ability to get what they want, the more you have an endless fuel for storytelling in comedy.

Weakness indicates dependence, and there is a degree of trust and tenderness also in it.

I had much rather be adorned by beauty of character than by jewels. Jewels are the gift of fortune, character comes from within.