A Quote by Johan Renck
The interest in character-driven content over narrative-driven ditto is increasing; that's why television steps in. Personally, I love it, since psychology and character, really, are my beacons.
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Well, honestly, the films I personally like to go see are smaller, more character-driven pieces, so that's why the movies I've made have been smaller, more character-driven movies.
The great thing about television is that you get to tell, like with "The Walking Dead", 16 hours worth of character-driven storytelling in less time than it takes to make a feature film. So, it really is a medium at least for storytellers who are passionate about not only the genre but also the character-driven genre stories. It's probably a better medium.
To me, it all comes down to things being character-driven. It's hard for me to look beyond that. CG and all this cool stuff - so be it. But to me, it pretty much begins and ends with character-driven plots rather than technologically-driven plots.
For big Hollywood movies, I'm on the more character-driven side of the equation. So, TV is a natural place for me to be because you've got no choice, but to be character-driven.
I think the only thing that we know how to do is look at our characters and ask what is the character doing right now and what do we need to do, and tell it from that place. If we really make it character driven and theme driven, I think we're going to offer up something new for the audience.
I think there's a fundamental distinction between character-driven movies that are just really lovely slice-of-life movies and character-driven movies that you remember 20 or 30 years later; the common denominator with the ones you remember is that they all have some really complicated emotional problem at their core.
My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.
I'm probably more character-driven than plot-driven. It's rare for me to attach myself to an idea for a story.
The mania started with insomnia and not eating and being driven, driven to find an apartment, driven to see everybody, driven to do New York, driven to never shut up.
My books are character-driven. They're not driven by the story.
I'm character-driven. If it's a great character and something different; because I find that a lot of the times you do get pigeon-holed, you do get the same characters over and over again because that's what producers are comfortable with. They've seen you do it, they know you can do it. I'm kind of getting a little stir crazy.
The instant that movies became described as character driven was the instant when characters stopped mattering in movies. In other words, the birth of the notion of the character-driven movie coincided with the birth of movies in which characters were incidental to the very activities in which they engaged.
I'll play a happy character, but most characters are driven by a pain or a fear. They are driven by something deep down, and most people are like that in the sense. And so, that's what interests me.
All I care about is that the audience should remember me for the character I play. I want to be part of content-driven films in any language.
And, for any performer, to be able to go deep into character is fantastic. In film you only get to do that if you're the leading character. But in television you get 18 hours to really test the audience and take them to the edge of how far they will go with this character. I can step over this line and I love that.
Online theft has changed the business model of filmmaking because the DVD market is very soft. So, more ambitious, compelling, character-driven narrative of a certain budget level isn't really a viable business model in the eyes of the studios right now.
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