A Quote by Emily Blunt

I think I'm drawn to characters with complexity or who are under duress in some way and have some conflict going on. — © Emily Blunt
I think I'm drawn to characters with complexity or who are under duress in some way and have some conflict going on.
A good story needs conflict, and virtual reality is a great hypothetical way to create conflict. ... In some ways, the future is going to be more boring than we think.
I'm often drawn to characters that are more obviously one thing. They're passionate, and there is always an element of strength because I think every person possesses that in some way, even if they've experienced hardship in their lives.
You are going to love some of your characters because they are you or some facet of you, and you are going to hate some of your characters for the same reason.
To me sympathy for a character has little to do with how morally upstanding or wicked they are. All that really matters for me is how human and interesting they are. I happen to be drawn to characters who operate under intense internal pressure, which often comes from some deep psychological conflict.
I think characters are going to be, if not a reflection of the author, at least some refraction of some part of their personality.
That it should be the questions and shape of a life, its total complexity gathered, arranged, and considered, which matters in the end, not some stamp of salvation or damnation that disperses all the complexity into some unsatisfying little decision - the balancing of scales.
I'm not sure why I'm so drawn to heroes who do bad things and to villains who think they're the good guys, but I do find that moral ambiguity and conflict makes for great characters.
To me, feminism in literature deals with the female characters being in some way central to the thematic concerns of the book, or that they are agents of change to some degree. In other words, the lens is focused deeply and intensely on the female characters and doesn't waver, which allows for a glimpse into the rich inner lives of the characters.
Redemption is something you have to fight for in a very personal, down-dirty way. Some of our characters lose that, some stray from that, and some regain it.
Initially, less appealing to me than the idea of a vampire that is drawn by some misgiving or drawn by some sense of longing that he can't quite satiate.
You won't have a story unless you have conflict, which means if there's no conflict in a situation, people look for a way to make some.
I'm always drawn to stories about characters who are somewhat isolated inside themselves by their inability to communicate in some way. That's what interested me about 'Children of a Lesser God.'
Well, I don't feel that I've played so many bad guys, and I'm rot really drawn to villains per se. I think a lot of people relate to some of my characters' inner struggles.
There are so many fantastic roles, but the ones that have always drawn me to them are the loners who, for whatever reason, never quite fit in and knew it and had to find their own way. I've always been drawn to that, for some reason. I've always been drawn to that sad, isolated place, but what it produces in behavior is something else, entirely. For whatever reason, I'm drawn to these people. Essentially, I think what draws me is that they are survivors against rather considerable odds.
I'm drawn to female characters, not all of them are strong characters. I think I'm drawn to female characters partly because they don't have as easy or as obvious a relationship to power in society, and so they suffer under social constraints or have to maneuver within them in ways men sometimes don't, or are unconscious about, or have certain liberties that are invisible to them.
I want a script to affect me in some way. I am usually drawn to character studies, scripts about real people and the world we live in not some fantasy.
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