A Quote by Nikolaj Coster-Waldau

The more secrets and twists in a character, the better. — © Nikolaj Coster-Waldau
The more secrets and twists in a character, the better.
I've always thought of characters like advent calendars. You have Christmas and you have all the little doors over the windows and every day you're allowed to open one more as it gets towards Christmas and you see more and more about what's inside that house.I remember as a kid being fascinated by that and I've always thought of my character as a little bit like that. I like to have secrets and slowly let those secrets out to the audience, sometimes never let them out, but let them see as you open the shutters, open and see a little bit more of a character.
I don't sleep. All night long I'm wide awake, thinking, Secrets, secrets, secrets. There are secrets in my past no one needs to know. Secrets in my present that might kill Kim and Chip. I don't want to take my secrets with me when I go. When I pass through the light, i want to be free of everything and everyone.
Before I start, I trick myself into thinking I know what's going to happen in the story, but the characters have ideas of their own, and I always go with the character's choices. Most of the time I discover plot twists and directions that are better than what I originally had planned.
The more you suffer the deeper grows your character, and with the deepening of your character you read the more penetratingly into the secrets of life. All great artists, all great religious leaders, and all great social reformers have come out of the intensest struggles which they fought bravely, quite frequently in tears and with bleeding hearts
The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
There are no secrets better kept than the secrets everybody guesses.
Developing a character with genuine depth requires a focus on not just desire but how the character deals with frustration of her desires, as well as her vulnerabilities, her secrets, and especially her contradictions. This development needs to be forged in scenes, the better to employ your intuition rather than your intellect.
Also, I do not like the companionship of women. They are petty and personal. They hang on to their mysteries and secrets, they act and pretend. I like the character of men better.
Some secrets are better left at that -as secrets.
In my head, at least, the business of spinning stories has no closing time. Twists in my characters' lives, glimpses of their secrets, obstacles to their dreams... all arrive unbidden when I'm getting cash at the ATM, walking my son to camp, singing a hymn at a wedding.
To be perfectly candid, we're better at stealing other people's secrets than anyone else in the world. But we self-limit. We steal secrets to keep our citizens free and safe.
There is nothing in the world that does not speak to us. Everything and everybody reveals its own nature, character and secrets continuously. The more open our inner senses, the more we understand the voice of everything.
...women are better at keeping secrets, but men are more comfortable with them.
Secrets are hard but solvable problems and we should talk about them. It's hard to work toward a radically better future if you don't believe in secrets.
As long as you don't fly openly in the face of society, society doesn't ask any inconvenient questions; and it makes precious short work of the cads who do. There are no secrets better kept than the secrets everybody guesses.
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