A Quote by Matthew Macfadyen

Nobody's really unsympathetic, I think. People do good and bad things. If a character's totally unsympathetic, they're not real and I'm not interested. — © Matthew Macfadyen
Nobody's really unsympathetic, I think. People do good and bad things. If a character's totally unsympathetic, they're not real and I'm not interested.
Nobody's really unsympathetic, I think. People do good and bad things. If a character's totally unsympathetic, they're not real and I'm not interested. Even the real monsters have to have a spark of something you can relate to.
I'm with Milton and the Rolling Stones: I don't find the Devil an unsympathetic character. But in any case, my fiction is populated as much by people who do good as it is by those who do bad. I'm interested in imaginatively accommodating as much of the human as possible, for which you need both moral extremes and everything in between.
If there is a reason I'm able to make unsympathetic characters human, it's because it's my desire to find what drives the unsympathetic behavior. Almost always at the bottom of it is some deep insecurity. Putting your finger on what each individual's particular insecurity is goes a long way to fleshing that person out.
There wasn't space to mood-up. I think Rose Byrne was just extraordinary. Talk about a character that could be really unsympathetic at times. She just jumped in these scenes that go from anger to hysteria to crying to laughing and back to anger. I just marveled.
I try to write about real women, real people - in other words flawed characters. I find flawed characters much more interesting than perfect ones and enjoy the challenge of making readers root for them in spite of their unsympathetic path and destructive choices. Life is about the gray areas. Things are seldom black and white, even when we wish they were and think they should be, and I like exploring this nuanced terrain.
One must never assume that a character is sympathetic because of either the actor playing them or the fact that they're a lead. I think that's a recipe for failure, actually, because if they become unsympathetic, you lose your audience.
I played an unsympathetic part -- myself.
It is a retarding element creating hatred and anger, and causing people to fight each other, and making them unsympathetic.
You know, I think a lot of times what happens when we as actors know we're playing a bad guy is we get into bad guy mode. You know what, man? In real life, bad people do good things too and good people do bad things. So you don't necessarily have to be the stereotypical bad guy to still do bad things.
What tends to happen in most movies is that strip clubs are used as a short hand for unsympathetic, sleazy people. And that's just a lazy cliché.
Eighty percent of our criminals come from unsympathetic homes.
I always look at films as real stories with real people in real situations. That's why I struggle with the whole notion of calling someone the 'good guy' or the 'bad guy,' because I think we all have potential to do good things and all have the potential to do bad things.
I always look at films as real stories with real people in real situations. That's why I struggle with the whole notion of calling someone the 'good guy' or the 'bad guy', because I think we all have potential to do good things and all have the potential to do bad things.
Everyone has a masculine and feminine side; masculine qualities and feminine qualities. We've all got these sides to ourselves. And clothes can tell that story. People would think this is very unsympathetic, but I would always say to people, you don't actually need to go through with an operation, can't you just be? You are who you are! But then people say to me, "Oh, you're really dreadful, how would you know?".
You hope that when you're playing someone possibly unsympathetic that you can bring them something redeeming, something people can hang onto.
A story so cherished it has to be dressed in casualness to disguise its significance in case the listener turned out to be unsympathetic.
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