A Quote by Nick Petrie
From a purely craft standpoint, a simple character has a single motivation, while complex characters have two or three or more motivations, at least one of which is in direct conflict with another.
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The acts of the mind, wherein it exerts its power over simple ideas, are chiefly these three: 1. Combining several simple ideas into one compound one, and thus all complex ideas are made. 2. The second is bringing two ideas, whether simple or complex, together, and setting them by one another so as to take a view of them at once, without uniting them into one, by which it gets all its ideas of relations. 3. The third is separating them from all other ideas that accompany them in their real existence: this is called abstraction, and thus all its general ideas are made.
With three or more people there is something bold in the air: direct things get said which would frighten two people alone and conscious of each inch of their nearness to one another. To be three is to be in public - you feel safe.
Nobody knew if the pilot would even get picked up because it had two gay lead characters, which has never happened before. And now every show has at least two gay characters, if not many more.
I look at each episode in two ways - from a design standpoint and from an entertainment standpoint - this is TV, after all. We usually succeed on at least one of the levels.
Complexity has and will maintain a strong fascination for many people. It is true that we live in a complex world and strive to solve inherently complex problems, which often do require complex mechanisms. However, this should not diminish our desire for elegant solutions, which convince by their clarity and effectiveness. Simple, elegant solutions are more effective, but they are harder to find than complex ones, and they require more time, which we too often believe to be unaffordable
Philosophy is a purely personal matter. A genuine philosopher's credo is the outcome of a single complex personality; it cannot be transferred. No two persons, if sincere, can have the same philosophy.
The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.
What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.
There's something extremely rewarding about following characters that you like and knowing that there's as many hours of viewing as you have the appetite for. You can tell more complex stories; you can create more complex characters in the longer form.
I like complex characters. I've been very, very lucky to portray, in these past three years, characters that are strong and fragile at the same time. It's those characters that I'm looking for. In the last year and half I played three different religions, and that allowed me to educate myself so much.
We're interested in complex characters and he's a complex character, [J. Edgar] Hoover. I like these types of dramas. I've made a few of them and I'm also interested in power structures so it just has elements that fascinate me, and the more you learn about Hoover, the more polarizing you realize he is.
All propaganda or popularization involves a putting of the complex into the simple, but such a move is instantly deconstructive. For if the complex can be put into the simple, then it cannot be as complex as it seemed in the first place; and if the simple can be an adequate medium of such complexity, then it cannot after all be as simple as all that.
I like movies that deal with trapped men. Men that need to make choices that are not obvious or easy choices. Then how do you visualize this? You create this character conflicted between two sides, because drama is about the conflict of two things, between your duty and your will, between what you want and what you can't have. It is all conflict between two things, and this is why you put your character in a place where you can visualize the conflict.
I always wanted to write movies that I'd direct. I didn't come at it from a writing standpoint more than a directing standpoint, except that growing up, I didn't have the opportunity to shoot as much as I did to write.
You're moving a franchise. You're leaving one city and going to another, which is difficult from a fan standpoint, from a fan-base standpoint, but you have to take care of the detail things. As you go through that step-by-step process, from my standpoint, my job is to keep in mind the player needs.
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