Quotes About Protagonist

I am a big fan of the web comic 'Strong Female Protagonist,' illustrated by Molly Ostertag.

If my tale has to revolve around a protagonist and there is action around him, I can only imagine him to be someone from the police or the Army.

Andrew has talked about my character being the conscience of the film, the heart of the film.

I have to have a character worth caring about. I tend not to start writing books about people I don't have a lot of sympathy for because I'm just going to be with them too long.

We "chicks" have munched our popcorn while romantic comedies became just comedies, and then each female protagonist got recast for Mathew McConaughey or Seth Rogan.

Bodie's phone rang. Ivy. I knew it was her, the way you know the protagonist of a horror movie really shouldn't go down into that basement. Bodie took the call, then nodded at me to go back inside.

A lot of crime fiction writing is also lazy. Personality is supposed to be shown by the protagonist's taste in music, or we're told that the hero looks like the young Cary Grant. Film is the medium these writers are looking for.

While operating in the background—as was his habit—and letting others do the open fighting, he was himself a principal protagonist in the conflict.

famous novel about us all, things began in exactly this way. I was strangely echoing his protagonist, summoned to the bedside of a dying friend (this was the difference) who had important things to reveal to him. Sylvie was there, too, in the centre of the picture as she always has been. Her madness was touchingly described. Of course in a way the characters were travesties of us; but the incidents were true enough and so was Verfeuille, the old chateau

The goals of the player are thus aligned with the goals of the protagonist; when the player succeeds, the protagonist succeeds. (...) The question is, can we imagine video games where this is inverted, such that when the player is successful, the protagonist fails? (...) Who would want to play Anna Karenina, the video game? Who would want to spend hours playing in order to successfully throw the protagonist under a train?

If you look at the great Westerns, and at Greek, Roman, and Norse mythology, they all contain elements in common: a harsh landscape; demons or outlaws trying to stop or kill the protagonist; and there are mythical legends at their core, innate in all cultures.

Where there is a hero, there is always a villain.

I think for some reason we're conditioned in movies that the protagonist must be heroic or redeemable in some way, whereas in theater, that's not a necessary.

I've played a lot of villains. The villains are always fun because you can just go fractionally bigger than life. It's always a grey area because you don't want to end up mustache-twirling and making them a little false, but you always get to play a little more, whereas the lead guy has to be a little more straight.

For those protagonists we tend to admire the most, the Inciting Incident arouses not only a conscious desire, but an unconscious one as well. These complex characters suffer intense inner battles because these two desire are in direct conflict with each other. No matter what the character consciously thinks he wants, the audience senses or realizes that deep inside he unconsciously wants the very opposite.

The PROTAGONIST has a conscious desire.

The protagonist of folktale is always, and intensely, a young person moving through ordeals into adult life. . . . and this is why there are no wicked stepchildren in the tales.

And here, of course, we come to the one occupation of a female protagonist in literature, the one thing she can do, and by God she does it and does it and does it, over and over and over again. She is the protagonist of a Love Story.

With my earlier books, I got quite bored being with one protagonist all the way through. With the Alex Morrow books, I wanted to do something a bit more holistic, so there were lots of different points of view, and I wanted to look at aspects of crime that you don't tend to look at.

Philip Roth has made a cottage industry of unlikable characters, but compared with Mickey Sabbath, the furious and profane protagonist of 'Sabbath's Theater,' Roth's earlier creations seem like Winnie the Pooh.

There has to be a protagonist who has to overcome challenges, and there will be a race to finish.

Perfect heroines, like perfect heroes, aren't relatable, and if you can't put yourself in the protagonist's shoes, not only will they not inspire you, but the book will be pretty boring.

A lot of times in films, the protagonist is either the leader of the group or the nerd of the group. I've never identified with either of those things.

Every antagonist is a protagonist in his own right.