A Quote by Patrick deWitt

When your protagonist bores you, you're in trouble. — © Patrick deWitt
When your protagonist bores you, you're in trouble.
If God bores you, tell Him that He bores you, that you prefer the vilest amusements to His presence, that you only feel at your ease when you are far from Him.
Better never trouble trouble until trouble troubles you; for you only make your trouble double trouble when you do.
Alas! it is true: "Be polite to bores and so shall you have bores always round about you."
What bores the listener bores the speaker too.
The downside of doing a multi-protagonist movie is that you don't get to service each character as you would if they were the central protagonist of the movie.
You live in the present and you eliminate things that don't matter. You don't carry the burden of the past. I'm not impressed by the past very much. The past bores me, to tell you the truth; it really bores me. I don't remember many movies and certainly not my own.
There is no such thing on earth as an uninteresting subject; the only thing that can exist is an uninterested person. Nothing is more keenly required than a defence of bores. When Byron divided humanity into the bores and bored, he omitted to notice that the higher qualities exist entirely in the bores, the lower qualities in the bored, among whom he counted himself. The bore, by his starry enthusiasm, his solemn happiness, may, in some sense, have proved himself poetical. The bored has certainly proved himself prosaic.
I think as readers we put ourselves in the protagonist's place because we want to be like that person. That's why sometimes we don't like protagonists who aren't all that nice; we want to relate to the protagonist.
When a man bores a woman, she complains. When a woman bores a man, he ignores her.
Mr. Rogers would not make a good protagonist of a narrative film. He's without conflict, he's too far along on his journey toward enlightenment to be a good protagonist. Our protagonists have to be struggling with demons in a certain way.
I think you write only out of a great trouble. A trouble of excitement, a trouble of enlargement, a trouble of displacement in yourself.
Even if you make a movie about a criminal locked up in prison, you may not support him as a criminal, but you have to like him on some level. You have to love your protagonist and respect him. He will only open his heart to you when he believes that you are treating him with respect, with love. Only then will there be no more walls between the filmmaker and the protagonist.
One of the most basic factors in sports is that winning becomes a habit, and losing is the same way. When failure starts to feel normal in your life or your work or even your darkest vices, you won't have to go looking for trouble, because trouble will find you. Count on it.
The main question in drama, the way I was taught, is always, 'What does the protagonist want?' That's what drama is. It comes down to that. It's not about theme, it's not about ideas, it's not about setting, but what the protagonist wants.
The problem was, I was labeled as trouble - so I was like, 'Trouble? I'll show you trouble. You want trouble, well here it is!' No matter what label they give you, the best thing you can do is prove them wrong.
Nothing troubles me. I offer no resistance to trouble - therefore it does not stay with me. On your side there is so much trouble. On mine there is no trouble at all. Come to my side.
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