Top 288 Protagonist Quotes & Sayings

We can't help identifying with the protagonist. It's coded in our movie-going DNA.

I'm a sucker for a screwed-up protagonist. We all have issues.

Creativity is basically a feminine process. I'm convinced that we have in our soul, everybody, this masculine side and this feminine side. So at the end of the day, you always use this feminine creative energy to write or to do any type of art or creativity. So if I see that my protagonist is feminine, it's not more difficult, no. And even when my protagonist is masculine, I'm writing from using this feminine energy.

I don't hover over the thought of only playing a protagonist.

It feels great to be given a protagonist role.

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.

Dogma not only blinds its protagonist, but it muzzles all other opposition.

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.

I think in any movie really the two most interesting parts are the protagonist and the antagonist.

Make the audience wonder what's going on by putting them in the same position as the protagonist.

The great movie can be as free of being a record of the progress of the protagonist as is a dream.

To me, a great story well told is a great story well told, and just because the protagonist is a young adult doesn't mean that story has less merit or worth than if the protagonist is a full-grown adult.

If the reader is rooting for the protagonist, they'll forgive you just about everything else.

I am a big fan of the web comic 'Strong Female Protagonist,' illustrated by Molly Ostertag.

By the time you have your protagonist attempting to assassinate the Pope, you've sort of signaled that everything is on the table.

As main protagonist, there's so much that you have to prove.

I'm kind of a dummy. I make movies and not realize until afterwards, 'Oh, I'm the protagonist.'

I was born in a tiny place in Ivory Coast, so being a protagonist in this life is a dream.

I always felt a little worm inside me: 'Now you need to write a novel with a woman protagonist.

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'm drawn particularly to stories that evolve out of the character of the protagonist.

I absolute adore epic journeys that require a protagonist to fight for every victory in the hopes of finding triumph.

I became interested in educating people in the variety of ways in which women can express their emotion. Which is much easier to do in a large role than in a supporting role to a male protagonist. In general, the women in a supporting role to a male protagonist - cry a lot.

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.

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.

My thing is whether my film is small, I am still playing the protagonist.

You look like a protagonist.

I prefer being the protagonist.

I always felt a little worm inside me: 'Now you need to write a novel with a woman protagonist.'

When your protagonist bores you, you're in trouble.

At Juve, I learned to always want to win and be a protagonist.

I love a kind of shambling outsider protagonist who always feels like they're 'other.'

Every antagonist is a protagonist in his own right.

I love when a protagonist and antagonist can find common ground.

The depth of any story is proportionate to the protagonist's commitment to their goal, the complexity of the problem, and the grace of the solution.

Since Dhanush is the protagonist of my first film, he proved to be my lucky charm.

I always think once you have the lead protagonist, you cast around that character.

'Aashiqui 2' and 'Yeh Jawaani' were hit films, especially the former film in which I was the protagonist.

People seem to need a likable protagonist more than ever.

I think that ultimately any effective drama or tragedy tries to put you as much as it can into the protagonist's shoes.

As you get older, you realize you're only the protagonist in your own story and a blip in someone else's life.

When the machine of a human being is turned on, it seems to produce a protagonist, just as a television produces an image.

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.

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.

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?

There has to be a protagonist who has to overcome challenges, and there will be a race to finish.

I always find something in common with my protagonist, particularly when I write in the first person.

I'd been upstaged, demoted from protagonist in my own drama to comic relief in my parents' tragedy

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.

We must always give preference to the collective. We have to play as Brazil. Nobody is a lone protagonist.

There are very few games, especially on the scale of 'Horizon,' that have a sole protagonist that is female.

It is the objective of the protagonist that keeps us in our seats.

People always want to identify a writer with their protagonist.

The nature of the universe probably depends heavily on who is the actual protagonist. Lately I've been suspecting it's one of my cats.

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.

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.

Nobody is ever just a straight up protagonist or antagonist - everybody's morally ambiguous.

The adolescent protagonist is one of the hallmarks of American literature.

Better to be the architect of something you can endorse than the placard waving protagonist standing in the rain.