Quotes About Character

When you're with another actor who's also been through five hours of prosthetic makeup, and you're eating another person's neck, and fake blood is being spurted out at you for two minutes, it's incredibly fun, and you're in character for that time. You can't really believe that that's your job.

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.

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.

But protagonists are protagonists and heroes are heroes.

As main protagonist, there's so much that you have to prove.

You don't need to like your protagonists.

People seem to need a likable protagonist more than ever.

Things have character. So I'm interested in how the character of the thing might function as a protagonist in what isn't a narrative.

I like to write stories that read like historical fiction about great, world-changing events through the lens of a flawed protagonist.

The adolescent protagonist is one of the hallmarks of American literature.

In most shows, there's usually a hero or a protagonist, and even if there are multiple heroes or protagonists, most shows try and make it so you really always know who's the good guy and who's the bad guy.

It's worth pointing out that no one faults a male protagonist for falling in love. What is it about a boy needing a girl that seems to round out his character, while a girl needing a boy can be dismissed as pathetic?

As far as characters in fiction that I really admire - it's pretty strong to say you would wish that you had created another character - but I'll throw out Will Graham, the protagonist in 'Red Dragon,' a book I've read several times.

When I was writing my first novel, 'Elizabeth is Missing,' I was writing the only novel I had ever written and writing about the only protagonist I'd ever written about. Because of this, I didn't think of her as a construct. Maud was real.

Protagonists traditionally are active characters.

The downside of doing a multi-protagonist movie is that you don't get to service each character as you would if they were the central protagonist of the movie.

In any novel I write, I have in my mind several things which happened in the protagonist's past which I never mention in the book.

The idea behind 'Gloria' was to take a secondary character - the aunt, the mother - and stay with her as she becomes our protagonist.

I don't hover over the thought of only playing a protagonist.

The lead character in 'Yennai Arindhaal' is like an extension of the protagonists of 'Kaakha Kaakha' and 'Vettaiyaadu Vilaiyaadu.'

The book says, 'Vanity Fair - a story without a hero.' Becky is effectively the protagonist, the hero we follow. But she is flawed. Becky is a subject of her own time.

Audience doesn't necessarily come only to see a hero with six-pack abs. They will watch him, but if someone who doesn't have that physique and is playing the protagonist, they'll watch that too.

What happens with a good score is, somehow the composer manages to cast himself or herself in the role of the protagonist. And then you write from their perspective.

A lot of times we make God to be this protagonist to our hope and our joy, and to be this old, grumpy man with this long beard and white robe. That is so counterintuitive to the heart of God.