A Quote by Martin Landau

I look for roles where there is some kind of an arc to the story. — © Martin Landau
I look for roles where there is some kind of an arc to the story.
I love character roles. I'm happier in them. I look for roles that have some kind of complexity.
Plotting is difficult for me, and always has been. I do that before I actually start writing, but I always do characters, and the arc of the story, first... You can't do anything without a story arc. Where is it going to begin, where will it end.
I like roles of people who can overcome things because there's strength in that and an arc - and roles where they start in one place, and toward the end of the script they end up in a completely different place, so you've seen this growth and some humanity in the role.
I look for two things when I am about to launch into a book. First, there has to be a dramatic arc to the story itself that will carry me, and the reader, from beginning to end. Second, the story has to weave through larger themes that can illuminate the world of the subject.
I like my characters to go through some changes during a story arc.
Unlike a novel, where you expect a different kind of arc that leaves us with a somber sense of resolution, I think a story in some ways as like a train window: being able to watch the landscape pass for a certain amount of time. And then your stop arrives, and you have to leave.
The first Knightfall story is four issues, and it is extremely focused and intense. People who have read, say, the 'Cats In the Cradle' arc in 'Secret Six' will get some idea of the primal tone of this story. It doesn't let up at all, and it ends in a new place.
When you look at the roles I've done and the roles coming up, they're all strong. I guess I'm more drawn to that than that kind of submissive role females can be categorised as.
I really only take roles that I love and that I have some kind of innate compulsion or need to tell that story. Although it's almost like I have no control over it. It's like they choose me.
Each of us is our own story, but none of us is only our own story. The arc of my own personal story is inexplicably and intrinsically linked to the story of my parents and the story of my neighbor and the story of the kid that I met one time. All of us are linked in ways that we don't always see. We are never simply ourselves.
I change myself a lot. Some roles you don't want to be big, bulky, muscle-y guy and some roles you want to be a lean, marathon-runner physical type. And some roles you just don't want to be in shape.
I always wanted to play Joan of Arc. I've always wanted to do that. Now I'm thinking, 'Maybe there's a story in Joan of Arc's mother!' If I don't hurry up, her grandmother!
Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.
Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.
At one time, smaller, and story-heavy films were not appreciated much but exposure has made the audience aware of what great story-telling is. This has also ensured that the right actors are cast for the right kind of roles.
I could play Arab roles, even German roles, Italian roles because I had that look.
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