Quotes of All Topics . Occasions . Authors
My writing is a very authentic journey of discovery. I'm going out there to learn who I am. My readers, consequently, take the same journey as my protagonist.
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.
The conventional Aristotelian plot proceeds by means of a protagonist, an antagonist, and a series of events comprising a rising action, climax and denouement.
Everyone talks to their dog, and then in your mind the dog talks back. A talking dog can provide the words that a stunted protagonist finds difficult to muster.
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.
It has been very rare to see a black woman as a protagonist. And also as three-dimensional people - mathematicians, mothers, wives, complicated people, not perfect.
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.
We 'chicks' have munched our popcorn while romantic comedies became just comedies, and then each female protagonist got recast for Matthew McConaughey or Seth Rogan.
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.
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.
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.
We're always steered towards what is good in the canon by a male perspective. I like to do plays with a female protagonist who finds her way through. My way is unusual.
In a horror film the protagonist should be vulnerable enough for audience to be worried about him. You can't have a six feet boxer and expect audience to worry about him.
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.
I often meet directors who want to cast me as the protagonist, but if the rest of the characters are not strong enough, the film is bound to fall flat on a creative level.
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.
I suppose 'This Little Life' and 'Brick Lane' both have things in common in that they have a female protagonist very much at the centre of the story, and they're subjectively told.
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.
When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.
Perfect heroines, like perfect heroes, aren't relatable, and if you can't put yourself in the protagonist's shoes, not only will they not inspire you, but the book will be pretty boring.
Each character, be it the antagonist or the protagonist, brings with himself his own personality... and I have tried to stay true to each one of them; each is enjoyable in their own way!
The protagonist in 'Deacon Blues' is a triple-L loser - an L-L-L Loser. It's not so much about a guy who achieves his dream but about a broken dream of a broken man living a broken life.
I'd love to write something for a male protagonist. That's sort of the next frontier for me. I think it'd be really amazing to write the kind of parts that I love for women but for a guy.
The leading character isn't always the most important or interesting character; when people think that the protagonist is the character portrayed, it's people who haven't read Shakespeare.
Religious power, which, as I have already said, frequently identifies itself with political power, has always been a protagonist of this bitter struggle, even when it seemingly was neutral.
I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.
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.
To me, a great story well told is a great story well told, and just because the protagonist is a young adult doesn't mean that story has less merit or worth than if the protagonist is a full-grown adult.
In fact, some reviewers have said that as they got into the story they forgot that the protagonist is a black woman. They were moved by the story - by the people as a whole - and not by the little things.
In a movie, you're just passive; you're just watching a story that is told to you. But in games, I saw that you could be the main protagonist: you could be in the shoes of the hero and make the decisions.
I tend to work on the principle that much humour relies on cognitive dissonance - on the foreground not matching the background, on the protagonist's response to a situation being inappropriate, and so on.
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.
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 there has to be an empathic strike between the reader and the protagonist. There has to be something said or known that connects the reader to this person you're going to ride through the story with.
As much as I love to dive into the action early, I think the hero's journey is important - the idea that the reader needs to experience the protagonist's everyday life before you turn that world upside down.
I'm a girl, so I've experienced dismissal because I was a girl or because I write about girls: my book with a guy protagonist is treated as more literary and worthy than my other books with girl protagonists.
'Five, Six, Seven, Nate!' opens on my 13-year-old protagonist packing up a duffel bag and bidding his Midwestern town goodbye, heading off to start rehearsals for his New York City debut in 'E.T.: The Musical.'
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.
Everyone's the hero in their own story. You've lived your life. You're the good guy of your life, the protagonist of your own movie. Everyone knows that they have more in them to offer than they sometimes show.
Philip Roth has made a cottage industry of unlikable characters, but compared with Mickey Sabbath, the furious and profane protagonist of 'Sabbath's Theater,' Roth's earlier creations seem like Winnie the Pooh.
You can, I think, have a quiet and steady protagonist and not run the risk of terminal dullness as long as exciting things happen to them and around them, and crime is the ideal genre for making this come about.
I suppose the textbook definition of an anti-hero is pretty straightforward - a protagonist who embodies not only heroic characteristics but also some characteristics typically deemed non-heroic, even villainous.
The 'Black Panther' series was never really about the Black Panther at all. The State Department guy, Everett K. Ross, was the series protagonist, so politics was simply a logical part of the character's tool set.
The film's star, Eminem, doesn't appear to have a great deal of range, but he can play himself. Even though the protagonist is named Jimmy Smith, the thoughtful '8 Mile' is a raw version of the rapper's own story.
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?
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.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
Amid apocalyptic dystopia, 'Fahrenheit 451''s protagonist retains sparks of curiosity, creativity, and courage, and these human characteristics are the seeds of hope that can arise, phoenix-like, from civilization's ashes.
Like the protagonist of her 2006 novel, 'Love and Other Impossible Pursuits,' Ayelet Waldman is a Jewish redhead who attended Harvard Law School and is madly in love with her husband. But the obvious similarities end there.
There's a bizarre insistence on how a story should be. 'The protagonist must be sympathetic!' they say. Whatever that means. I never engage in that discussion. I never use that word, 'sympathetic.' I just know 'interesting.'