Quotes About Antihero

Elektra isn't a villain and isn't a good girl, but as Frank Miller said, she is one of the villains with a weak streak in them, and that's a failure that I tried to explore.

When I go to Batman movies, I always think, 'Man, I would like to be a bad guy in a Batman movie.' especially as they got darker when they go to the Christian Bale era.

Somehow super power and hero are so synonymous that they get combined into one word, 'superhero,' whereas I'm kind of more interested in separating those two ideas out. You have characters with super powers who may or may not be heroic, because human beings aren't all heroic. I tend to be drawn to antiheros.

To me, the joy you're going to get in a 'Punisher' story is watching him punish incredibly wicked people. Now, if you can add to that an emotional content, wonderful.

When I was playing Ajax, he thinks he's a hero; he thinks he's saving people. He thinks he's helping Wade Wilson by turning him into Deadpool.

I loved films of the '70s with those antihero protagonists who you don't know if you can get behind because their behavior is really questionable.

I think some people watch 'Raging Bull,' or they watch 'The Piano Teacher,' and I think they're more, maybe, able to process an antihero in a dramatic context, where people more want comedy to take care of them. But that's not really taking care of people. That's just providing escape, which sometimes is necessary.

If you liked my 'Ghost Rider' run, you're going to love what they're doing in 'Punisher.'

King looked back at Roland. As The Man With No Name--a fantasy version of Clint Eastwood--you were okay. A lot of fun to partner up with. Is that how you think of it? Yes. But then you changed. Right under my hand. It got so I couldn't tell if you were the hero, the antihero, or no hero at all. When you let the kid drop, that was the capper. You said you made me do that. Looking Roland straight in the eyes--blue meeting blue amid the endless choir of voices--King said, I lied, brother.

If we're not careful, this archetype of the dark, brooding, broken antihero gets held up on a pedestal for the wrong reasons.

A few hours after the news broke about the death of crime writer Donald E. Westlake, a newspaper asked me to write a tribute. In short order I did so, calling attention to his decades-long career, both under his own name and that of his primary alter ego, Richard Stark, who introduced the unsentimental antihero-heister Parker to the literary canon.

I'm not the hero, Mac. Never have been. Never will be. Let us be perfectly clear: I'm not the antihero, either, so quit waiting to discover my hidden potential. There's nothing to redeem me.

Everybody does it." No, not everybody does it; conscience and social responsibility are still alive if not too well in America. But the dramatic transformation of Sammy Glick from the antihero of the forties to the role-model hero for the Yuppies of the eighties is a painful reminder of the moral breakdown we are suffering without even seeming to realize that suffering is involved.

I'm drawn to the classic antihero, the guy who's probably made a bunch of mistakes and really has the capacity to go either way. That's the most interesting type of character for me to watch, to see what decisions they'll make. There's a lot of gray area there for a writer to explore.

Some people compare Spike Spiegel to Dirty Harry, and they're both antiheroes. But Spike is an extension of myself.

I had never had a positive leading character - somebody that wasn't an antihero, or who wasn't more of a guy that you're supposed to be on the side of.

the twin concepts of nihilism and the antihero have had it. What began with The Wild One and James "nobody understands me" Dean, ran with increasing vehement negativism up through the Stones and Velvets and Iggy ... [I]t may be time, in spite of all indications to the contrary from the exterior society, to begin thinking in terms of heroes again, of love instead of hate, of energy instead of violence, of strength instead of cruelty, of action instead of reaction.

Deathstroke is the dark-mirror version of Batman, basically. He is every bit as resourceful, every bit as ruthless, every bit as powerful as Batman.

I prefer to play the villain or the antihero.

Back in the '30s, '40s and '50s, you had clear-cut heroes, clear-cut supervillains. Today, you have more of a blend, more of a gray area between the two. You have the rise of the sympathetic villain and the rise of the antihero.

It was so exciting to me watching him go from villain to antihero over the last 10 years. So when I found out they were making a show about 'Loki,' I was very determined to get in the room for it, and they luckily met me and here I am. I would say I chased heavily after it as a 'Loki' fan.

I had never had a positive leading character - somebody that wasn't an antihero, or who wasn't more of a guy that you're supposed to be on the side of.

It seems a lost opportunity that Capra didn't give George Bailey, or the Giannini-inspired idealistic bank president in his film American Madness, an Italian surname. The next time a great Italian-American filmmaker, one who established his career in San Francisco, would portray a member of the community, the character would be the fictional antihero Vito Corleone, whose name would penetrate the nation's collective memory far deeper than that of A. P. Giannini.

Through lightest dark or darkest light, You dont need no bling to join the fight. We're mercs with mouths and so much more, Yippee-ki-yay, we're the Deadpool Corps!