A Quote by Paul Rust

I want to give every single character the dimensions and complexity of a main character. — © Paul Rust
I want to give every single character the dimensions and complexity of a main character.
Every character, when it comes to a cinematic representation, gets complicated and layered. You are given a lot of dimensions than a single dimension to an individual. That's the main difference between seeing something out of the window and seeing something on screen.
I want to push that no matter what race you are, you're never just a sidekick or broken character. You're the main character, you're the funny character, you can be whatever you want.
Think of every character as a main character. They believe they're the main characters in their stories. No one should just be an obstacle.
You want, in a sense, to relate to the main character, so often, the main character POV is a bit more of a blank slate.
I think every time you take a female character, a black character, a Hispanic character, a gay character, and make that the point of the character, you are minimalizing the character.
When a place comes across vividly in a novel, it's often compared to a character. I can remember writing teachers who encouraged me to treat setting as if it were a character, to give it three dimensions, to make it come alive, jump off the page.
Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.
I like books that have razor-sharp plotting that snaps and moves along. It's not about the main character being different at the end. I don't want my main character to be different in the end. I still want him committed to his ideas, to be steadfast, true and loyal
I like books that have razor-sharp plotting that snaps and moves along. It's not about the main character being different at the end. I don't want my main character to be different in the end. I still want him committed to his ideas, to be steadfast, true and loyal.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
I love the idea of seeing a character - I mean, there's nothing like seeing a character and having the huge detail and roundness that a character in a book can give you. It's so much more full than a character in a script can give you, isn't it?
It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.
I personally am happy doing a finite series as I can't play a single character for three years. Hats off to the actors who stay in a character for three four years and enjoy every moment of their character.
Every great institution is the lengthened shadow of a single man. His character determines the character of the organization.
Not every character that you play is going to be somebody that you like or love, but every character that you play has a story that is worth telling. If you're not the person to tell it, that's one thing. But if you don't want to tell it because you are afraid of the unpopularity of the character, I view that as a missed opportunity.
It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character. Then again, there is a huge gap between me as a person and what I do in the novel.
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