Quotes of All Topics . Occasions . Authors
I prefer being the protagonist.
It feels great to be given a protagonist role.
Every antagonist is a protagonist in his own right.
When your protagonist bores you, you're in trouble.
People seem to need a likable protagonist more than ever.
As main protagonist, there's so much that you have to prove.
I don't hover over the thought of only playing a protagonist.
At Juve, I learned to always want to win and be a protagonist.
I'm a sucker for a screwed-up protagonist. We all have issues.
People always want to identify a writer with their protagonist.
I love when a protagonist and antagonist can find common ground.
My thing is whether my film is small, I am still playing the protagonist.
The adolescent protagonist is one of the hallmarks of American literature.
Dogma not only blinds its protagonist, but it muzzles all other opposition.
Eric Carter is a more raw, more emotional protagonist. He's a bit of an Everyman.
We can't help identifying with the protagonist. It's coded in our movie-going DNA.
I'm drawn particularly to stories that evolve out of the character of the protagonist.
I love a kind of shambling outsider protagonist who always feels like they're 'other.'
I was born in a tiny place in Ivory Coast, so being a protagonist in this life is a dream.
I am a big fan of the web comic 'Strong Female Protagonist,' illustrated by Molly Ostertag.
If the reader is rooting for the protagonist, they'll forgive you just about everything else.
I'm kind of a dummy. I make movies and not realize until afterwards, 'Oh, I'm the protagonist.'
I always felt a little worm inside me: 'Now you need to write a novel with a woman protagonist.'
There has to be a protagonist who has to overcome challenges, and there will be a race to finish.
'Aashiqui 2' and 'Yeh Jawaani' were hit films, especially the former film in which I was the protagonist.
We must always give preference to the collective. We have to play as Brazil. Nobody is a lone protagonist.
There are very few games, especially on the scale of 'Horizon,' that have a sole protagonist that is female.
As you get older, you realize you're only the protagonist in your own story and a blip in someone else's life.
Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.
I think that ultimately any effective drama or tragedy tries to put you as much as it can into the protagonist's shoes.
When the machine of a human being is turned on, it seems to produce a protagonist, just as a television produces an image.
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.
By the time you have your protagonist attempting to assassinate the Pope, you've sort of signaled that everything is on the table.
The black person is the protagonist in most of my paintings. I realized that I didn't see many paintings with black people in them.
I know I am not the first woman to ask this, but how can I be both damaged and loveable? How do I become the protagonist of a story?
The idea behind 'Gloria' was to take a secondary character - the aunt, the mother - and stay with her as she becomes our protagonist.
I've never read a script in which you are actively pulling for the protagonist in the beginning, but little by little, you lose that.
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.
Raven's always trying to do the best she can for the group. Aside from the couple of mistakes she's made, she's always been a protagonist.
Why should I limit myself or drive myself towards a woman-centric film. Sometimes, the most interesting role is not that of the protagonist.
There's something about film that offers this opportunity to stick to a very, very clear single protagonist's point of view, and I like that.
Henry Miller wrote novels, but he calls his protagonist Henry, often Henry Miller, and his books are in this gray area between memoir and novel.
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.
Oftentimes in films, the female character, if she's not the protagonist - and often, even if she is - feels like an imitation of what a woman is.
I would put Harry Kane in with Batistuta. All that is happening to him, he deserves. He is the protagonist of his life, and he deserves all the prize.
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.
In some ways, every character we write, especially the protagonist, is some version of ourselves, as a writer/director, even if they aren't the same gender.
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.
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.