A Quote by Kevin Whately

I don't like two-dimensional characters who are obviously villains from the moment they walk on stage. — © Kevin Whately
I don't like two-dimensional characters who are obviously villains from the moment they walk on stage.
Things danced on the screen do not look the way they do on the stage. On the stage, dancing is three-dimensional, but a motion picture is two-dimensional.
I always felt like Azula and Long Feng were much more interesting villains and three-dimensional characters than Ozai, who was just sort of a big jerk. Like a really big jerk, but not very complex or human.
I've played lots of villains in my time and I think the reason they've been so successful is that they're not two-dimensional. They're not black and white. That's the gig.
To grasp the essence of chirality, it is instructive to withdraw for a moment from the familiar three-dimensional world into a two-dimensional one, into a plane, and enquire what chirality means there.
Often, female characters are quite one dimensional, especially in a two hour film; television gives characters room to breathe and develop.
It was interesting to have humanoid villains that were rooted in our three-dimensional reality... or four dimensional reality, I'm not sure which!
Film is a two dimensional thing - it goes up and down and left to right but if you put that music into that two dimensional medium, it became like a third, fourth, and fifth dimension, I really believe in that.
There's no particular role that comes to mind that I'd like to take on, but for me, it's about playing interesting characters and not just two-dimensional ones.
One thing is sure - we have to transform the three-dimensional world of objects into the two-dimensional world of the canvas.. ..To transform three into two dimensions is for me an experience full of magic in which I glimpse for a moment that fourth dimension which my whole being is seeking.
I like the idea of taking three-dimensional objects and making them two-dimensional so that they look like cartoons.
I didn't like characters that were one- or two-dimensional. I liked a guy to have a lot of different levels to him and layers, and I think I pretty well succeeded with Thanos.
I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
A lot of times, female characters - particularly the villains - come off as very one-dimensional. They get the short shrift in that they're only given the snappy comeback, or they're relegated to a very stereotypical role. I want to know what's driving them - that's what's really interesting.
Just like we don't live in a two-dimensional world, we don't live two-dimensional lives.
Obviously, once you're finished, you're like, "Okay, I have to make this a movie now, and I need people - bodies to play these parts, and actors to bring this thing beyond a script." But when I was writing it, I wasn't thinking of actors; I was really thinking about creating three-dimensional characters.
Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.
This site uses cookies to ensure you get the best experience. More info...
Got it!