Top 136 Protagonists Quotes & Sayings - Page 2

Tunisia's responsibility, and especially that of its political and intellectual elites, is enormous. All the protagonists of the nation's social, cultural, economic and political life must work to overcome useless and counterproductive polarisation, and to find solutions to domestic, regional and international problems.

It's odd for me to compare my stuff to Lee Child's, because I'm such of fan of his, and also because it's curiously something I never did until I kept hearing about our protagonists' similarities.

I believe young children in particular enjoy witnessing the survival of youthful protagonists against terrible odds. I think it's gratifying to the reader when you give young characters that kind of agency.

There are definitely parts of me in most of the protagonists I write, but I find a bit of distance can be useful, so I often find myself better able to write from a point of view that isn't exactly my own.

A lot of crime fiction writing is also lazy. Personality is supposed to be shown by the protagonists taste in music, or were told that the hero looks like the young Cary Grant. Film is the medium these writers are looking for.

Comedians have to entertain the audience within a stipulated time. It is not possible to explain what we intend to convey in a detailed manner. This can only be done in films where comedians are the protagonists.

I have confronted theoretical positions whose protagonists claim that what I take to be historically produced characteristics of what is specifically modern are in fact the timelessly necessary characteristics of all and any moral judgment, of all and any selfhood.

I've always read broadly: literary fiction, sci-fi, fantasy, chick lit, historical, dystopian, nonfiction, memoir. I've even read Westerns. I prefer female protagonists.

For the blockbusters, people were always telling me that if you write female protagonists, the boys won't go, so you have to put the boys' stuff in it to get everybody. I write for people from 8 to 80, and that's not easy.

Mr. Rogers would not make a good protagonist of a narrative film. He's without conflict, he's too far along on his journey toward enlightenment to be a good protagonist. Our protagonists have to be struggling with demons in a certain way.

Doctor Mengele is such a powerful character historically, as powerful as Nazism itself, so these subjects always tend to be the protagonists. What I think is that despite this historical references, Wakolda or The German Doctor is a very intimate story.

Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.

When my daughter was born, I was reading a lot of children's books, and there weren't any characters who looked like her. For all the content that's out there, there aren't many African-American protagonists. I looked at it like, if there isn't someone else creating it then I have to do it myself.

I'm more comfortable writing traditional protagonists. But 'Steve Jobs' and 'The Social Network' have antiheroes. I like to write antiheroes as if they're making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.

You can put things in prose and understand them one way, and then there's understanding it by knowing how it feels. Things aren't real until you can feel that, until you can empathize with them. That's what protagonists do in books.

Fiction is about human beings, first and foremost. (It's not impossible to write fiction with no human protagonists, but it's very hard to keep the reader interested ...)

As a storyteller, I've always been fascinated with the idea of recreating this notion of choices in fiction. My dream was to put the audience in the shoes of the main protagonists, let them make their own decisions, and by doing so, let them tell their own stories.

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.

In the history of enterprise, most of the protagonists of major new products and companies began their education - not in the classroom, where the old ways are taught, but in the factories and labs where new ways are wrought ... nothing has been so rare in recent years as an Ivy League graduate who has made a significant innovation in American enterprise.

I do think that I have a more flexible view of the interactions between people, and between human and non-human protagonists, humans and their landscapes.

An ambitious, surreal tale of the love between a young Arab girl sold into marriage and the orphan boy she adopts, 'Habibi' spans multiple eras of conflict and change, stretching the lifetimes of its two protagonists over many centuries.

Every manager is different in one way or another, but what stays the same is coaching Barcelona players - players who want the ball, who want to be protagonists on the field - so each manager who's been here has been able to take advantage of that, and, luckily, I feel we've become more complete because of it.

I've been playing with this idea in my mind that the hero's journey that we're all taught as screenwriters may resonate more specifically for male protagonists and maybe even male viewers.

The label YA actually means nothing except that the protagonists, or some of them, are young. Publishers like it because it is a secure marketing niche. But the cost of security is exclusion from literary consideration.

Women are never the protagonists; we're always reactionary against everything that's done to us. I like people who write for women that have got a bit more about them.

'Argo,' 'Lincoln,' and 'Zero Dark Thirty,' three films honored with Best Picture Oscar nominations, lionize their Washington-anchored protagonists as crafty, competent, and virtually incorruptible.

'What It Is' was based on this class I've been teaching for 10 years - I wanted to write a book about writing that didn't mention stuff like story structure, protagonists, and all those things that we know about only because they already exist in stories.

I'm not interested in making movies only with female protagonists. I think it's ridiculous to think that a female director can't direct men. That makes no sense to me.

Women need to tell their stories from their experiences, and that may not mean that it would be all stories with women as protagonists.

In Hollywood, an Angelina Jolie is paid a fee that is probably at par with her male colleagues, but we can't expect the same here in India. Universally, films have meatier roles for men. Most films are about male protagonists and their histrionics on screen; women are signed up for song sequences and to up the glam quotient.

To me there's no difference between writing YA and adult except that in YA I make the book a little shorter and the protagonists are teens. The difference is in the readers.

Employing women as my primary protagonists has allowed me to step outside of myself, to distance myself from my own personality, far more easily than were I to look at events from a masculine perspective.

Part of my purpose in my books has been to tell the complete story of a relationship and a marriage, not just to end with 'happily ever after,' leaving the protagonists at the altar or in bed... I wanted to show some of the complicated business of actually living a successful marriage.

When writers for adults contemplate Venice, they behold decay, dereliction and death. Thomas Mann, Daphne du Maurier, L. P. Hartley and Salley Vickers have all dispatched hapless protagonists to Italy, where they see Venice - and die.

The protagonists that I've played tend to be people who make trouble. Or even if they don't make it, they certainly disrupt things. It's fun to do that in life as well. But I don't think I ever played myself.

At some point, I stumbled across my two main protagonists: William E. Dodd, a mild-mannered professor of history picked by Roosevelt to be America's first ambassador to Nazi Germany, and Dodd's comely and rather wild daughter, Martha, who at first was enthralled with the so-called Nazi revolution.

Speaking generally, I think it's useful to acknowledge explicitly the power imbalance between a journalist and the protagonists in a story about poor people, even to make that imbalance part of the story - and to redress it, narratively, where you can.

We knew the Syrian situation was complex and there were lots of divisions, particularly on the side of the opposition... This is a tough job... It can perhaps be done if you stand united and work with me in putting sustained pressure on the protagonists or the parties to come together and seek a political settlement.

'Thelma and Louise' was a pretty important film for me and still is. It's a social film about many things - gender, freedom - and it puts someone like me into the place of these protagonists. Watching that movie, you are living through the eyes of these women.

Most of 'Let the Great World Spin' is centered on the day in 1974 when Philippe Petit walked on a tightrope between the two towers of the World Trade Center, creating an astonishing spectacle that intersects with the lives of many of the novel's multiple protagonists.

In fact, Guerra based his story on the diaries of two explorers, German Theodor Koch-Grunberg and American Richard Evans Schultes. There work is some of the only documentation of cultures that have since vanished. But Guerra did not want white men to be his protagonists.

In general, I've found female protagonists more intriguing to work with than males. I cherish women and have always preferred their company, reveling in their perfumes, their contours, their finer-grained sensibilities, lunar intuitions, nurturing instincts and relatively unfettered emotions--although I'm certainly not unaware that there are plenty of neurotic, uptight, stupid women in the world.

Show me a novelist – or, indeed, a reader – who wasn’t a socially awkward, self-conscious adolescent, prone to clumsiness and excessive reading and I’ll… well, I’ll probably bang my shoulder on the door frame as I storm out. Many of the most unforgettable female fictional protagonists are gauche, self-doubting, plain and think too much.

Of course I consider myself a Jewish writer - I am one! All of the protagonists in my five books have been Jewish, and I wouldn't be surprised if all my future main characters were as well.

While books provided me with some escape from the mental and physical horrors of my early life, they were unreliable. Many times the protagonists suffered terribly and then died at the end.

Britain in 2018 has the feel of a Netflix drama approaching its season finale. It's the classic 'how on earth does anyone get out of this one?' kind of cliffhanger, with all of the key protagonists confronted by their nemesis.

There aren't many children's books about black characters that are just going on adventures. My library has over 2,000 children's books in it, and most of the protagonists are either white or creatures.

I think as readers we put ourselves in the protagonist's place because we want to be like that person. That's why sometimes we don't like protagonists who aren't all that nice; we want to relate to the protagonist.

Shamefulness is always a huge part of my characterizations. I like protagonists that reveal, either through "honesty" in their various thought processes or via their actions, perhaps telling us things they're not so keen on disclosing through their interactions with the outside world. Probably both during the duration of a novel.

I don't understand why people still behave as though making movies with female protagonists is risky, given that - hello - we do make up over 50 percent of the population, and we go to movies.

As Black people, we're very used to empathizing with the world through white people's eyes, because they're the protagonists. I know what it's like to look at the world and empathize with Superman because I spent my whole life doing that.

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.

I had a list of things that science fiction, particularly American science fiction, to me seemed to do with tedious regularity. One was to not have strong female protagonists. One was to envision the future, whatever it was, as America.

The idea in The Man that Would Be King was that the music should recreate all that majestic surrounding and emphasize the adventure, but also speak about the frustration or, rather said, the curse of both protagonists, even before happened what happens them.

The Cold War was over, presidential sex scandals superseded foreign concerns, and the American public was more interested in reading about fiendish serial killers, dependable mystery series protagonists, and any book thought to be in the vein of Bridget Jones and her abbreviation-happy diary.

The most important thing in the job is to make movies about women where they are characters that have consequences in the story. They can be villains, they can be protagonists, I don't care but their movements, their actions what they do in the plot has to actually matter.

I had the feeling that focusing on objects and telling a story through them would make my protagonists different from those in Western novels - more real, more quintessentially of Istanbul.

The Internet is the hope of an integrated world without frontiers, a common world without controlling owners, a world of opportunities and equality. This is a utopia that we have been dreaming about and is a world in which each and every one of us are protagonists of a destiny that we have in our hands.

It seems to me that most good protagonists are both clever and resourceful. They are intelligent and can fix things, both little and big. They can come up with inventive solutions others would never think of.

At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.