A Quote by Justin Simien

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. — © Justin Simien
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.
If I have a male protagonist, it's a studio movie, and if it's a female protagonist, it's an indie movie. That's just how it is. It's not about the studios. It's about America and who goes to see movies. Women are interested in men and women, and men aren't interested in the woman's story. They just aren't.
A conventional ‘success’ story is one where, with each next, the protagonist has more money, more respect, and more possessions. I’d like to suggest an alternative ‘success’ story – one where, with each next, the protagonist is closer to finding that spot where he’s no longer held back by his heart, and he explodes with talent, and his character blossoms, and the gift he has to offer the world is apparent.
First person allows deeper insight into the protagonist's character. It allows the reader to identify more fully with the protagonist and to share her world quite intimately. So it suits a story focused on one character's personal journey. However, first person shuts out insights into other characters.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
The great movie can be as free of being a record of the progress of the protagonist as is a dream.
We can't help identifying with the protagonist. It's coded in our movie-going DNA.
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.
I think in any movie really the two most interesting parts are the protagonist and the antagonist.
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.
With 'Hail, Caesar!' it was about all the skill sets I had to learn, but each movie requires a different way of working. You're a piece in a new world, and there is always a difficult part within that world. For me, it's not consistent from movie-to-movie, each film has a central challenge.
Each character, be it the antagonist or the protagonist, brings with himself his own personality... and I have tried to stay true to each one of them; each is enjoyable in their own way!
Sometimes it's funny for me to just pretend I'm a movie character, and think what would you do if this was a movie? Or, what would you do if you were one of your icons?
With a horror movie, you're making a metaphor. You're making a personalized nightmare for the protagonist.
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.
The first thing our Chapman screenwriting professors taught us was that all stories share one thing in common: there is a protagonist, and that protagonist has a goal that he or she has difficulty achieving. Does Luke Skywalker become Luke Skywalker if he doesn't get pulled into the Death Star, if his best friend isn't turned into carbonite?
Each movie was a challenge for me, as a man, as an actor. After each movie, something changed in my life, in my character.
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