Top 288 Protagonist Quotes & Sayings - Page 2
Explore popular Protagonist quotes.
Last updated on November 21, 2024.
Treefingers is important, it's the point in which our protagonist crosses the icy tundra that is how to disappear completely to reach the island of Optimistic. But seriously, kill yourself.
With a horror movie, you're making a metaphor. You're making a personalized nightmare for the protagonist.
I've always wanted to play a soldier and I'd never taken on a character where I'm the happy-go-lucky protagonist. I've played a lot of jerks recently.
I couldn't imagine what Fox thought they were doing, contemplating such a jagged protagonist for a prime-time drama. I only knew that I wanted the role very much.
Eric Carter is a more raw, more emotional protagonist. He's a bit of an Everyman.
For me, a great story is one in which the protagonist faces unimaginable odds; where the stakes are high that failure constitutes a disaster.
Oftentimes in films, the female character, if she's not the protagonist - and often, even if she is - feels like an imitation of what a woman is.
I'm not a citizen of America, I cannot vote. But it is fascinating because there's a new kind of protagonist out there that we didn't expect. By the way, I'm not in any panic at all.
When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.
I think there has to be an empathic strike between the reader and the protagonist. There has to be something said or known that connects the reader to this person you're going to ride through the story with.
There's something about film that offers this opportunity to stick to a very, very clear single protagonist's point of view, and I like that.
What happens with a good score is, somehow the composer manages to cast himself or herself in the role of the protagonist. And then you write from their perspective.
I get auditions for best friend, best girlfriend, a doctor who appears in one scene and tells the protagonist that he has cancer, things like that.
With me it started as a child, going to the theater and being totally transported but also walking out of the theater thinking I was the protagonist in the film and reenacting the scenes.
The novel form is about the protagonist's struggle to transform his arbitrary, fragmented, given experience into a narrative as meaningful as his favorite books.
The thriller protagonist is really just us in extremis. He or she is this individual who is placed under enormous pressure, has huge moral dilemmas and decisions to make.
I think for some reason we're conditioned in movies that the protagonist must be heroic or redeemable in some way, whereas in theater, that's not a necessary.
When I first began writing In the Country of Men all I had was the voice of the protagonist. He intrigued me and my desire to want to know him and his world became almost compulsive.
My intent is not to inflame Muslims but to entertain readers of great thrillers. At the end of the day, I want people to see a good protagonist struggle against serious odds and do so with courage and honor and integrity.
The protagonist of folktale is always, and intensely, a young person moving through ordeals into adult life. . . . and this is why there are no wicked stepchildren in the tales.
I know I am not the first woman to ask this, but how can I be both damaged and loveable? How do I become the protagonist of a story?
There was a moment with 'Zootopia' where we said, 'This is the experiment: let's try Judy in the role of the protagonist. Let her character introduce us to the city and this world.' And suddenly, all that struggling and trying to make traction into this story was done.
The idea behind 'Gloria' was to take a secondary character - the aunt, the mother - and stay with her as she becomes our protagonist.
The more complex and overwhelming the threat to a protagonist, the better the opportunity for the author to create a compelling conflict and a dramatic resolution.
In the average European oil painting of the nude the principal protagonist is never painted. He is the spectator in front of the picture and he is presumed to be a man.
Any claim to actual identification as a drama must rest upon the construction of a plot independent of the assignment of affliction to the protagonist.
I don't judge in my books. I don't have to have the antagonist get shot or the protagonist win. It's just how it comes out. I'm just telling a story.
I suppose 'This Little Life' and 'Brick Lane' both have things in common in that they have a female protagonist very much at the centre of the story, and they're subjectively told.
When one hears the argument that marriage should be indissoluble for the sake of children, one cannot help wondering whether the protagonist is really such a firm friend of childhood.
Like my fictional protagonist Tom Thorne, I love country. My tastes go back a bit further than his do, and I still listen to stuff from the late '70s and early '80s.
Because there is actually something very interesting in Goodfellas, how the style of the film changes as time goes by and based on the mental state of the protagonist.
Things have character. So I'm interested in how the character of the thing might function as a protagonist in what isn't a narrative.
Why should I limit myself or drive myself towards a woman-centric film. Sometimes, the most interesting role is not that of the protagonist.
As such, anything is always possible, even if your protagonist is a plumber. But it's the possibility, the limitless possibilities, of any fake life, that make writing about it so challenging.
I'm fine with playing the protagonist's mother, mother-in-law or friend - as long as my role is well-written.
Whenever the protagonist of the film becomes bigger than the hero of the film, the film is bound to become a hit.
Open Secret boasts a nifty plot and, in Coroner Fortin, a fascinating protagonist who will likely be around for a long time. Deryn Collier is a talent to watch.
In some ways, every character we write, especially the protagonist, is some version of ourselves, as a writer/director, even if they aren't the same gender.
Amid apocalyptic dystopia, 'Fahrenheit 451''s protagonist retains sparks of curiosity, creativity, and courage, and these human characteristics are the seeds of hope that can arise, phoenix-like, from civilization's ashes.
My female protagonist will not be this promiscuous, beautiful, dark-haired, thin lady. It will be a plump, blond, healer and so forth.
Religious power, which, as I have already said, frequently identifies itself with political power, has always been a protagonist of this bitter struggle, even when it seemingly was neutral.
As much as I love to dive into the action early, I think the hero's journey is important - the idea that the reader needs to experience the protagonist's everyday life before you turn that world upside down.
In fact, some reviewers have said that as they got into the story they forgot that the protagonist is a black woman. They were moved by the story - by the people as a whole - and not by the little things.
Can Protagonist think of a single film that interests him as much as the three-hundredth best book he ever read?
We've all seen lots of stories about a young protagonist having adventures, and usually they're all boys, [and] there is sometimes a token female, or two.
The conventional Aristotelian plot proceeds by means of a protagonist, an antagonist, and a series of events comprising a rising action, climax and denouement.
I often meet directors who want to cast me as the protagonist, but if the rest of the characters are not strong enough, the film is bound to fall flat on a creative level.
My writing is a very authentic journey of discovery. I'm going out there to learn who I am. My readers, consequently, take the same journey as my protagonist.
I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.
I tend to work on the principle that much humour relies on cognitive dissonance - on the foreground not matching the background, on the protagonist's response to a situation being inappropriate, and so on.
A lot of narrative films leave you no space for anything else but eating popcorn. I want to go in the complete opposite direction. I have to evacuate all psychology, to be less a protagonist and more a presence.
In any novel I write, I have in my mind several things which happened in the protagonist's past which I never mention in the book.
I would put Harry Kane in with Batistuta. All that is happening to him, he deserves. He is the protagonist of his life, and he deserves all the prize.
I've never read a script in which you are actively pulling for the protagonist in the beginning, but little by little, you lose that.
It has been very rare to see a black woman as a protagonist. And also as three-dimensional people - mathematicians, mothers, wives, complicated people, not perfect.
I think boys don't always like to read books with female protagonist - I don't even know what to say about this.
I learned another thing, which is that just because someone is eating the ashes of your protagonist doesn't mean you stop telling the story.
We're always steered towards what is good in the canon by a male perspective. I like to do plays with a female protagonist who finds her way through. My way is unusual.
As long as the protagonist wants something, the audience will want something.
I like to write stories that read like historical fiction about great, world-changing events through the lens of a flawed protagonist.
