Top 1200 Weakness Of Character Quotes & Sayings - Page 18

I didn't want to do character roles because when you are doing comic characters, you only get character roles.

I'm a huge fan of BioWare games. I think they do some of the best character-building. I mean, I have a relationship with Thane from 'Mass Effect' that is as vivid as any crush that I've had on a TV-show character.

On-screen relationships are the best because you don't have to worry about saying the wrong things. And if the guy's got a girlfriend, or I'm not attracted to him, it's even better. It's just my character kissing his character.

For me, character comes from a specific condition or situation. I cannot really define a character outside that situation.

It's quite a layered character that I portray in 'Jalebi' and I needed to deviate and cut-off completely from the world to get into a different zone as a character. I'm really glad it proved beneficial and worked to my advantage.

Then I got the offer to play Buck Rogers, but I turned it down thinking it was a cartoon character. Well I was wrong, it wasn't at all. So I read the script and decided I liked the character, it had a good concept.

The character has to have some kind of arch. The character has to go through an event, and be changed by the human event.

To choose the ideal voice for a character is to give a character an ardent and vivid life, to allow him or her to speak, rather than speaking for them, in an older style of omniscient narration.

I'm pulling out different aspects of my personality in writing each character and, if I'm doing my job well, I'm being true to the situation and true to the character.

Well first of all you have to make the character strong so that people can follow that. And then hopefully that character can integrate with the background of the social situation that people can recognize.

Evil is such a simplistic way to describe any character, be it Iago or Caliban, or any character from history.

Don't write stage directions. If it is not apparent what the character is trying to accomplish by saying the line, tell us how the character said it or whether or not she moved to the couch isn't going to aid the case.

Character is plot, and casting is character.

I've worked in this business long enough that I know people who complain, like, 'My character does this, and my character does that,' and I think it's just ego talking.

At first I thought the character Sun-young was a normal character, but later I realized that she is not after all. In some sense, she could be fierce.

The point of acting is to hide yourself and get lost in character. To play the same character in eighteen movies would be defeating the purpose I believe so I try to keep a little bit of diversity.

Dialogue is character and character is plot.

If you have a character who wins all the time - well, if you have a character that loses and wins, it makes him more alive. Bugs Bunny, for example, didn't always win.

It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.

The great thing about literature is that you're making up your own interpretation of the character anyway. Also, you're given basically a bible of who a character is and you're kind of shooting yourself in the foot if you're not reading it.

And he said that he wrote the Bond character based on the character of David Niven. That's how he saw Bond.

In creating a new character, it's sometimes difficult to find a touchstone, a North Star that will always point you in the direction that character will travel.

HIV is certainly character-building. It's made me see all of the shallow things we cling to, like ego and vanity. Of course, I'd rather have a few more T-cells and a little less character.

Nothing about character is hereditary. Everyone, regardless of social background, financial status, race, or sex, enters the world with an equal opportunity to become a person of great or petty character.

While you're testing out armatures of puppets, you're also trying to find the proper visual vocabulary for the character and to come up with a guidebook of sorts for how a character will move and act.

The power of the Latin classic is in character , that of the Greek is in beauty . Now character is capable of being taught, learnt, and assimilated: beauty hardly.

Style is a form of expression! It's what makes your character your character, to put it in laymen's term.

I don't understand when people say character actors. You either have the protagonist or the antagonist and I've played both. It's an actor's role to play a character. Does that mean that main stream heroes and heroines are characterless?

When you approach it, and I hate sounding like the pretentious actor, but yeah, I think you have to find things within the character that are likeable, or at least human, and not to go at it with any sort of predetermined notions as to what that character is.

Belief is everything when you're performing something. If you don't have the belief behind it, then that actually puts a shunt on the character. It's like, "Does the character believe this for a minute?"

Filming a movie is different from a TV show because film is a lot quicker, you get to see the character progress and grow all in one script, and in television, you wait for a weekly update on each character.

One of the things I've learned in playing a character like Becca from 'You're the Worst' is that there really is such a joy and freedom in behaving badly and in being a character that you do roll your eyes at. She's just so delicious to loathe.

It can be frustrating and even frightening to observe the success which sometimes comes to outlaws and rogues who seem to refute notions of universal justice. Every time we see a villain enjoying the fruits of dishonorable acts we find ourselves doubting the value of character and the validity of the virtues we have been taught. Thus, it takes character to believe in character, but that belief is always rewarded, often by material success, but always by the esteem it earns from those who matter.

I don't really approach a character as to whether or not it's good or bad. I just approach a character as to where it lives in me.

When you play a character, there's always a part of you. Like, you always bring out a side of you when you do another character.

I really am a guy who can be black and white. I don't understand, too much, the gray. And truly I can go from one type of character to another type of character.

I'd rather play a character that was really, really different to me as to someone who is quite close to my character.

As an actor, I need to convince the audience that the character that I'm playing is real, and the situation that this character is in is also real.

We have a writing process that's very much you try to create the character in a complicated way and then you let the story lead you to discovering who the character is in a natural way.

I don't pretend to be the character. I am the character.

I'm a character actor and that's what I do. All the roles that I've had have been mainly support roles, because character actors don't usually get the lead in movies. It rarely happens.

Even when I took up 'Drishyam,' I was not the lead character. I liked the role as the story was about my character and that was enough for me to take up the film.

I'm a character actor - always have been, always will be - and historically, character actors don't come into their own until later in their professional and chronological lives.

The villains are all parts of me. For years I've been wondering what it would be like if all those negative elements were forced onto the main character's side. I can understand a character with that kind of anger.

I did take some voiceover classes. I always loved the idea of doing a voice for a cartoon character. I just voiced the character of Suzi X in the upcoming 'The Haunted World of El Superbeasto.'

I am an actor and I do not have to relate to whatever I play on screen them at a personal level. What is important is to understand the character, do enough homework to know the frame of mind of the character or his back story.

Everything of mine which has been filmed so far has been one character short, and that character is me.

The palmist looks at the wrinkles made by closing the hand and says they signify character. The philosopher reads character by what the hand most loves to close upon.

When I saw the script [of The Man], I saw the character and knew I could do the character. It's a relationship movie, which is also what I love to do. That's what attracts me to projects.

I am playing the character of a grandmother in 'Doctor Don' which is completely different from my previous roles. My character is dashing, carefree and has a bindaas mindset. She loves to live her life happily.

The person you see in the ring is me in a mosh pit, pretty much. I am that character, I don't even like calling it a character. It's just me.

Character calls forth character.

Whenever feasible, pick your team on character, not skill. You can teach skills; you can't teach character.

Take care of your kid's character, and everything will follow after that. Character is everything

Culture is not just an ornament; it is the expression of a nation's character, and at the same time it is a powerful instrument to mould character. The end of culture is right living.

I like actors who just are who they are, with a little bit of qualification to adapt to their character. But mostly they just use their own personality to embody the character.

It took me a while to get over 'Highway'. I started living the character of 'Veera' very closely. I don't think I would be able to give so much to a character the way I did with her.

When I'm writing from a character's viewpoint, in essence I become that character; I share their thoughts, I see the world through their eyes and try to feel everything they feel.

'Huge' is a show about self-discovery and follows kids at a weight loss camp. My character is shy, so when she meets Nikki Blonsky's character Willamena Rader, who's not, they become friends.

I research the role, and if it's a literary character, I read the book, and if it's an historical figure, I research documents and biographies. If it's a fictional character, I work off the script.