A Quote by Alex Gibney
Even with a villain, you don't want him just to be some pockmarked punchbag.
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We refugees, we become always a punchbag. A political punchbag between China and South Korea and North Korea.
I want to be a villain with steel hands or something. I want to be the crazy, world-domination-obsessed villain. I would love to be a Bond villain.
'The Villain' is another project with Mohit Suri under Balaji Productions. It was again very tough to impress him even after 'Sun Raha Hai' but some how I manage to get in.
The challenge is, how do you take someone who's supposed to be a villain and make that appealing and lovable? You have to empathize with him and put yourself in his shoes and root for him and want him to have the things he wants.
Some artists, such as Jack Kirby, need no plot at all. I mean I'll just say to Jack, "Let's let the next villain be Dr. Doom" ... or I may not even say that. He may tell me. And then he goes home and does it. He's so good at plots, I'm sure he's a thousand times better than I. He just makes up the plots for these stories. All I do is a little editing ... I may tell him that he's gone too far in one direction or another. Of course, occasionally I'll give him a plot, but we're practically both the writers on the things.
A lot of actors say that no villain wants to be a villain, generally. They don't might being evil, maybe, but they have an agenda that they can justify. Otherwise, a little bit of that tension goes, if you're just a villain and everyone hates you because you're mean.
A good villain exudes charisma and power. He has principles, though; that just gives him a level of dimension. It makes him seem to be a bit unpredictable, because he's usually deemed as some type of evil, ruthless person, and then he shows you his principles, and you don't know what to think of it.
I didn't tell Ôtani I love him because I want to make out with him. I just love him, that's all. And I want to be with him all the time, even if we're just goofing around and hanging out like we always are.
My theory of characterization is basically this: Put some dirt on a hero, and put some sunshine on the villain, one brush stroke of beauty on the villain.
If you don't care for the villain, if you don't love him and hate him at the same time, then he's just boring.
Where you have a villain in the piece or the antagonist, whatever you want to call them, there has to be humanity at the core of it or it's faintly ridiculous. Nobody is just villain through and through. You have to feel something for them.
I think a villain who starts his morning looking in the mirror, wringing his hands, and going, 'How can I be evil today?' is not an interesting villain. An interesting villain is a person who you understand on some level, I think.
One of my goals is to play a villain in a Bond film. People ask me if I want to be a Bond girl, and I say, 'No, I want to be the villain.' I'm waiting for that call!
With all due respect to the other writers, I don't want to disparage any other writers; I don't want to have to invent a bigger villain than Deathstroke so Deathstroke can seem heroic fighting this bigger villain. I'd rather just have Deathstroke be who is, and he's kind of a bastard.
At some moments, you feel attracted to someone of the same sex, even if it's not sexual. You just want to be like him.
I can be the best Villain. If I make the Villain different and unique to a point where no-one else can do it, that's where people are going to want me.
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