Quotes About Protagonist

It's important for people of colour to have the opportunities to play characters that are as nuanced - as three-dimensional, as human - as the characters who we traditionally see getting to play the protagonist. The good guys and the bad guys. The reason that is important is because it's a better reflection of the reality of the world we live in.

It's quite a thrill to be playing a hero.

The thriller protagonist is really just us in extremis. He or she is this individual who is placed under enormous pressure, has huge moral dilemmas and decisions to make.

My intent is not to inflame Muslims but to entertain readers of great thrillers. At the end of the day, I want people to see a good protagonist struggle against serious odds and do so with courage and honor and integrity.

When you're the good guy in a horror film, you're usually suffering a lot throughout the entire thing.

This is not a mystical adventure. You are not the protagonist. You're seeing and doing things which are having profound emotional effects on you. You're being irrational. You're not thinking things through, you're not working things out. You're going on mental arithmetic instead of paper arithmetic and you're going on gut instinct instead of worked, peer-reviewed results.This is not good science.

I couldn't imagine what Fox thought they were doing, contemplating such a jagged protagonist for a prime-time drama. I only knew that I wanted the role very much.

No matter how you describe a protagonist, each reader has a personal vision of that character. Leave room for the reader's imagination.

You don't really understand an antagonist until you understand why he's a protagonist in his own version of the world.

I'm quite sure Shakespeare enjoyed writing Iago much more than he did writing Othello. If you write about someone you love, what the hell are you supposed to say about that person? It's much better to have something between you and your main character that grates.

Most films are written and made with a hero around 35, or even 25.

The hero is never the star of the story.

Because there is actually something very interesting in Goodfellas, how the style of the film changes as time goes by and based on the mental state of the protagonist.

I was born in a tiny place in Ivory Coast, so being a protagonist in this life is a dream.

Like the size and composition of a work, the walk and talk of an artist has to persuade, not just others but the performers themselves. Whether they have colorful, large-scale personas or minimal, low-key selves, believable artists are always protagonists, never secondary characters who inhabit stereotypes. For this reason, I see artists' studios as private stages for the daily rehearsal of self-belief.

Respect your characters, even the ­minor ones. In art, as in life, everyone is the hero of their own particular story; it is worth thinking about what your minor characters' stories are, even though they may intersect only slightly with your protagonist's.

Every revolutionary movement has its peaks of united activity and its valleys of debate and internal confusion. This debate might well have been little more than a healthy internal difference of opinion, but the press loves the sensational and it could not allow the issue to remain within the private domain of the movement. In every drama there has to be an antagonist and a protagonist, and if the antagonist is not there the press will find and build one.

In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.

Boring heroines are, in my opinion, the most common romance mistake. We loathe hanging out with women who define themselves purely through their relationships... why would we want to read about them?

When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.

A male author can write about unlikable male characters. They're called anti-heroes and it's called a novel.

Crime is a very hard genre to feminise. If you have a female protagonist she is going to be looking after her mum when she gets older; she is going to be worried about her brother and sister; she will be making a living while bringing up kids.

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.

Like my fictional protagonist Tom Thorne, I love country. My tastes go back a bit further than his do, and I still listen to stuff from the late '70s and early '80s.