Quotes About Protagonist

Fear Street' subverts almost every stereotype that you can think of in the horror genre, which I love. We have a horror trilogy that's centered around a queer relationship. The main protagonist is a queer woman of color.

Any film is about heroism: the triumph of good over evil. If you look back at my films, you will see that as a recurring theme.

It's so much easier to make a movie about someone who is so likeable that you just want to get out of the way.

There are very few games, especially on the scale of 'Horizon,' that have a sole protagonist that is female.

The self we create is a fiction. On this point, religion and cognitive neuroscience converge. When the machine of a human being is turned on, it seems to produce a protagonist, just as the television produces an image. I think this protagonist, this self, often recognizes that it is a fictional construct, but it also recognizes that thinking of itself as such might cause it to disintegrate.

The first thing our Chapman screenwriting professors taught us was that all stories share one thing in common: there is a protagonist, and that protagonist has a goal that he or she has difficulty achieving. Does Luke Skywalker become Luke Skywalker if he doesn't get pulled into the Death Star, if his best friend isn't turned into carbonite?

Think 'Game of Thrones.' In the old days, this sort of show might be considered bad writing. It doesn't really seem to be moving toward a crisis or climax, it has no true protagonist, and it's structured less like a TV show or a movie than a soap opera.

No matter how many times you've seen the movies and the TV shows that have a protagonist leaping in the path of a bullet, physics forbids such sacrifice. Because of a bullet's radical speed, you can't jump in front of it, but you could get in its way. It's not as dramatic, but it does save lives.

I wrote 'Twenties' back in 2009. I always wanted to tell a story where a queer black woman was the protagonist, and I'm so grateful to TBS for giving me a platform to tell this story.

If I'm gonna play a character in a movie or if I want to be the lead of a film, you wanna carry the guy, you wanna get the girl, you wanna save the day or the world.

When I first began writing In the Country of Men all I had was the voice of the protagonist. He intrigued me and my desire to want to know him and his world became almost compulsive.

I find myself writing protagonists who do feel pretty cut off from others but who want to make connections and aren't very good at it.

I've read Flowers in the Attic and The Other Side of Midnight and Go Ask Alice and I don't want to read any more books where the girl dies in the end.

It is only in fiction that the protagonist moves in a single minded, one point focus, screening out everything that isn't related to the plot. Real people have to deal with the Myrtles of this world, who have sciatica and cold sores and want to tell you about them

I'd describe 'Born to Kill' as a 'study in psychopathy', it's very much in the heads of our main protagonist, Sam, a young boy dealing with dark, twisted psychotic desires. It's also a coming-of-age story.

I think that ultimately any effective drama or tragedy tries to put you as much as it can into the protagonist's shoes.

When one hears the argument that marriage should be indissoluble for the sake of children, one cannot help wondering whether the protagonist is really such a firm friend of childhood.

in the Metaverse, Hiro Protagonist is a warrior prince.

As if this whole place were a story about her.

I was used and tricked and thrown away, but I cannot be forgiven. It's a funny thing. You go your whole life thinking you're the protagonist, but really, you're just the backstory. The boys shrug and go on, they fight and blow things up and half of them do much worse... and still get a key to the city, and eventually you're just a story your high school boyfriend tells the kid he had with his new wife.

I was better than a punk. I was a protaganist.

That meant that not only must I cathect myself to the entitled white protagonist but then mourn for the loss of his precious childhood as if it were my own in overrated classics like Catcher in the Rye.

So, yes, 'Codename Baboushka' is all-action and over-the-top, at least by my standards. But it also has a complex, multifaceted protagonist, a deep mystery at its core, and a kind of humanity that, through all the bullets and high-kicks, is really the soul of the book.

Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.