We've been trained to prefer being right to learning something, to prefer passing the test to making a difference, and most of all to prefer fitting in with the right people
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.
Prefer the familiar word to the far-fetched. Prefer the concrete word to the abstract. Prefer the single word to the circumlocution. Prefer the short word to the long. Prefer the Saxon word to the Romance.
We’ve been trained to prefer being right to learning something, to prefer passing the test to making a difference, and most of all, to prefer fitting in with the right people, the people with economic power. Now it’s your turn to stand up and stand out.
Between a dead-hero and a living-no one, always prefer the latter, always prefer the life! Being no one is infinitely better than being dead!
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.
We are being at once wisely aware of our own frivolity if we avoid hitting and whacking and prefer 'striking' and 'smiting'; talk and chat and prefer 'speech' and 'discourse'; well-bred, brilliant, or polite noblemen (visions of snobbery columns in the Press, and fat men on the Riviera) and prefer the 'worthy, brave and courteous men' of long ago.
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 really loved ["The Love Affairs of Nathaniel P" by Adelle Waldman]. It's having a really hot moment. Unlike many hot books, it's actually really wonderful. I tend to have that reaction: I don't want to read it if everyone thinks it's cool. It was a really interesting insight into being young and male. Now that made me feel really thankful for my boyfriend and really thankful because he wasn't like that protagonist, but I know so many people who are like that protagonist.
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 great movie can be as free of being a record of the progress of the protagonist as is a dream.
I actually prefer night shoots to days. I prefer being up. It's easier for me. I'm more of a night person.
I was born in a tiny place in Ivory Coast, so being a protagonist in this life is a dream.
I prefer being around young people. I don't like situations from the past, definitely no nostalgia. I prefer to think of doing everything new with a different generation that has a different mentality.
When the machine of a human being is turned on, it seems to produce a protagonist, just as a television produces an image.
Every novel deals with social problems. It can't help it because the protagonist must come in conflict with his group. So the author has to offer an analysis of how the group and the protagonist fit. Otherwise, the reader will just say, "This makes no sense," and will put it away.