A Quote by Paul Schrader

If you write interesting roles, you get interesting people to play them. If you write roles that are full of nuance and contradiction and have interesting dialog, actors are drawn to that.
I don't think I want to play title roles. I don't want to be the face on the poster. I don't want that pressure of having the success riding on my shoulders. I just want to play the most interesting parts. I actually think it's incredibly rare to get an interesting female character that is the lead in a film. Usually the character parts are so much more interesting to play.
With film roles, it just has to be a character either I haven't done before, or a role with somebody really interesting or with an interesting person or group of people.
I want what's mine. I see other actors who are doing very interesting roles, and I just want to continue to do things that are interesting, and things that people will go see in theaters.
There's plenty of girlfriend roles out there. They've come my way, and many people have turned them down, and I think, "Oh maybe I could do something with this." It's interesting when you get those roles, which seem like nothing on the page, and you kind of subvert them. It's hard to say no.
I want to keep doing interesting work with interesting people in whatever form that may take, but I want to play the big parts of classical theatre; I want to go on stage and play great Shakespearean roles and, at the same time, do amazing, challenging indie films and comedy, and I want to do it all. I am greedy.
I just want to keep writing characters who are interesting and complicated people and interesting roles for women, in TV or film or in theater. I think that's like my 'Blues Brothers' mission.
I'm not particularly a career-oriented guy. I'm lucky. I can make really interesting films much of the time with interesting people yet be anonymous, have a private life. But, I'd like to have the choice of the better roles.
I don't have a philosophy for choosing roles. Sometimes, it's just, 'This might be interesting; that might be fun to do.' There might be interesting actors or directors in the project, even if the part is not important. And then sometimes, you need the money.
Well, in fact everybody - everybody - in the entire nation has enough stuff in their life to write about that's interesting that they could write their autobiography. And in the end that's why I find people interesting.
In this business, my business, I get to meet all kinds of incredible people, fascinating people, glamorous people and sexy people and highly intellectual people. And you meet them and you go 'interesting, interesting, interesting'. They're interesting, but not very many people stop you in your tracks.
It's often wrong to write for specific actors because one ends up using what is least interesting about them, their mannerisms and habits. I prefer not to write for specific people.
I like to write for actors I know and with whom I've worked before. You can write to their strengths and weaknesses and write roles that are better suited to them.
I'm an actor and I am looking for roles where I can continue to evolve, and things that are challenging. I gravitate to the roles, not necessarily television or film. It's just the fact that, for me, the most interesting roles have been in television.
I had been in a Shakespeare company for three years and done a lot of Shakespeare. That was fun. That was interesting. It was a lot of work - anything other than Shakespeare was less work. I had a lot of interesting roles, but I don't point to them and say, "That was more interesting than that," because I don't know what the criteria are.
All the roles are for boys. The girls' roles are either small or all the same. There's just nothing interesting.
I get told I'm too good-looking for a lot of roles. They don't write roles people would think I'm supposed to play as often as they used to - the rom-com pretty-boy storylines.
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