Quotes About Protagonist

I became interested in educating people in the variety of ways in which women can express their emotion. Which is much easier to do in a large role than in a supporting role to a male protagonist. In general, the women in a supporting role to a male protagonist - cry a lot.

In some ways, every character we write, especially the protagonist, is some version of ourselves, as a writer/director, even if they aren't the same gender.

Mr. Rogers would not make a good protagonist of a narrative film. He's without conflict, he's too far along on his journey toward enlightenment to be a good protagonist. Our protagonists have to be struggling with demons in a certain way.

I think Dr. Willis McNelly at the California State University at Fullerton put it best when he said that the true protagonist of an sf story or novel is an idea and not a person. If it is good sf the idea is new, it is stimulating, and, probably most important of all, it sets off a chain-reaction of ramification-ideas in the mind of the reader; it so-to-speak unlocks the reader's mind so that that mind, like the author's, begins to create.

The writer must then see that once the protagonist lies, either to herself or to others-the lie will create its own repercussions, its own penalties and circumstances of revelation...A simple principle therefore is to create situation where the protagonist is forced to lie.

The male author unthinkingly creates a world in which every single member of society is male except—hey presto!—when the protagonist feels like getting laid. Especially common in science fiction; apparently many writers assume that in the future women will die out.

The film's star, Eminem, doesn't appear to have a great deal of range, but he can play himself. Even though the protagonist is named Jimmy Smith, the thoughtful '8 Mile' is a raw version of the rapper's own story.

You're the absolute protagonist of this book, very well; but do you believe that gives you the right to have carnal relations with all the female characters?

How long are you going to let yourself be dragged passively by the plot? You had flung yourself into the action, filled with adventurous impulses: and then? Your function was quickly reduced to that of one who records situations decided by others, who submits to whims, finds himself involved in events that elude his control. Then what use is your role as protagonist to you? If you continue lending yourself to this game, it means that you, too, are an accomplice of the general mystification.

Reader, what are you doing? Aren't you going to resist? Aren't you going to escape? Ah, you are participating.... Ah, you fling yourself into it, too.... You're the absolute protagonist of this book, very well; but do you believe that gives you the right to have carnal relations with all the female characters? Like this, without any preparation..?

The story always starts with the character. In a way, there's no decision. If there's no character there's no story.

As you do on any cable series, if they introduce you as the villain, then you better start working towards making him a really good guy, or if they introduce you as a really good guy, then you better start working towards being the villain. Your character has to go somewhere, or else they become very uninteresting.

'Flying Jatt' is a superhero movie, and the villain needs to be really strong.

I don't think of 'Macbeth' as the villain. I don't think of 'King Lear' as the villain. I don't think of 'Hamlet' as the villain. I don't think of 'Travis Bickle' as the villain.

If someone has to be the villain, I'll be the villain. I have no problem with it. The movies still say, 'Starring... the villain.'

'Deathstroke' became an interesting challenge - not just because of his ethnicity, but because he's a villain. I've never written a villain as a protagonist of a series before. I thought this could be an interesting challenge. That's really what got my attention, and it just went from there.

I love to play with the notion of who the protagonist is - who is the audience supposed to root for? I did it in 'Sicario' and feel it was the strength of the script - guiding the audience's allegiance toward the villain because they think he's the hero, until it's revealed that he's the villain.

I find that when I watch films where the villain is more complex, I find that it makes the heroes more complex and ultimately, in the story, more interesting.

There's gotta be a villain; there's gotta be a good guy.

Heroes are defined by their villains - Batman is nothing if he doesn't have Two-Face.

I also try very hard to create characters - both heroes and villains - with psychological depth.

Villains are very, very boring to do. They're so much easier than heroes.

I always felt that heroes were essentially dull. Villains were more exotic and could do more interesting things.

Plot and character are virtually the same thing.