Top 288 Protagonist Quotes & Sayings - Page 3

So, yes, 'Codename Baboushka' is all-action and over-the-top, at least by my standards. But it also has a complex, multifaceted protagonist, a deep mystery at its core, and a kind of humanity that, through all the bullets and high-kicks, is really the soul of the book.

Though the inspiration for my songs almost always comes from things that are happening around me, I am definitely not always the protagonist in the songs.

In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.

With few exceptions, the publishing industry has come to a consensus: if a book has a young protagonist, and if its worldview is primarily interested in the questions that crop up when coming of age, then it's a young adult novel.

If my tale has to revolve around a protagonist and there is action around him, I can only imagine him to be someone from the police or the Army.

American and Vietnamese characters alike leap to life through the voice and eyes of a tenyearold girl-a protagonist so strong, loving, and vivid I longed to hand her a wedge of freshly cut papaya.

The only thing that makes me put down a book is if the characters are boring, or the situations aren't fraught with the potential for some great change or I don't mind if an author torments his protagonist, but I do expect a decent payoff in the end.

I am drawn towards the sort of characters who are in situations where they don't want to be in. But that's a staple in pretty much in any hero's journey because if you have non-reluctant protagonist then how is there any conflict?

I had been struggling with how to create a child-like protagonist's voice without making it sound as though I was 'dumbing down' to the character. They are able to see events, people and places with an intensity and open mindedness that adults lack.

We tend to think of orphans as being the protagonist of stories we read when we're kids, and yet here you are: you're an adult, you're supposed to manage, you're supposed to get over it, you're supposed to go on with your life, and you feel like a lost child.

Perfect heroines, like perfect heroes, aren't relatable, and if you can't put yourself in the protagonist's shoes, not only will they not inspire you, but the book will be pretty boring.

Terry Farish seems to breathe the reader into the emotional spaces of war, exile, and refugee life. The Good Braider is a delicate stunning exploration of its young protagonist's life and heart.

As far as characters in fiction that I really admire - it's pretty strong to say you would wish that you had created another character - but I'll throw out Will Graham, the protagonist in 'Red Dragon,' a book I've read several times.

Raven's always trying to do the best she can for the group. Aside from the couple of mistakes she's made, she's always been a protagonist.

The grappling hook allows for versatile and dynamic movement through the map, while a variety of shinobi-esque tools allow for all sorts of tricks and finesse. These are very important elements of 'Sekiro: Shadows Die Twice''s gameplay and the protagonist's nature.

It can stand in the way of narration in cases where we want the protagonist to actually go through some kind of catharsis while our own (non-fictional) experiences and stories lead to something banal or completely uninteresting.

In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.

A lot of times we make God to be this protagonist to our hope and our joy, and to be this old, grumpy man with this long beard and white robe. That is so counterintuitive to the heart of God.

I like animal sidekicks. They seem to be a pretty cool trope of post-apocalyptic fiction - just because if you're going to have this lone protagonist, they're going to need someone to talk to. Dogs are overused, and cats are dumb. So that leaves monkeys.

If you look at the great Westerns, and at Greek, Roman, and Norse mythology, they all contain elements in common: a harsh landscape; demons or outlaws trying to stop or kill the protagonist; and there are mythical legends at their core, innate in all cultures.

In the modern era, it isn't enough to write, you must also be the Writer, with a capital 'W,' and play your part as the protagonist in the cautionary narrative in which you will fail or triumph, be in or out, hot or cold, ride the wheel of fortune.

The Hulk is the most difficult Marvel property because it's always about balance. Is he a monster? Is he a hero? Are you going to root for a protagonist who spends all his time trying to stop the reason you came to the movie from happening? It's always a dance

We 'chicks' have munched our popcorn while romantic comedies became just comedies, and then each female protagonist got recast for Matthew McConaughey or Seth Rogan.

Wolf Boy is absolutely beguiling. Evan Kuhlman has boundless empathy for all his characters, and his wonderful protagonist Stephen is, in turn, boundlessly inventive. . . . This is an auspicious debut.

We "chicks" have munched our popcorn while romantic comedies became just comedies, and then each female protagonist got recast for Mathew McConaughey or Seth Rogan.

Audience doesn't necessarily come only to see a hero with six-pack abs. They will watch him, but if someone who doesn't have that physique and is playing the protagonist, they'll watch that too.

Every time a Hollywood director shoots a film about Africa that features a Western protagonist, I shake my head - because Africans, real people though we may be, are used as props in the West's fantasy of itself.

PRIMAL TEARS is a novel of tremendous power. Passionate and erotic, at times tenderly lyrical, it confronts head-on, without flinching, brutal environmental and feminist politics. Its protagonist, Sage, is unique, magical, and haunting.

In prose, leaps of logic can be made while the protagonist thinks about things and arrives at conclusions. Even with voiceover, there's no real way of having an inner voice without it taking over the entire story.

What led me to that was I have never - I mean, I watch movies and I don't care who is the protagonist. I feel what that guy is feeling. You know, if it's Tom Cruise leaping over a building - I want to make it, you know? And I'm going to - yes, I made it. And yeah, so I get that.

A lot of crime fiction writing is also lazy. Personality is supposed to be shown by the protagonist's taste in music, or we're told that the hero looks like the young Cary Grant. Film is the medium these writers are looking for.

Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.

I wrote 'Twenties' back in 2009. I always wanted to tell a story where a queer black woman was the protagonist, and I'm so grateful to TBS for giving me a platform to tell this story.

I don't understand when people say character actors. You either have the protagonist or the antagonist and I've played both. It's an actor's role to play a character. Does that mean that main stream heroes and heroines are characterless?

The black person is the protagonist in most of my paintings. I realized that I didn't see many paintings with black people in them.

In 'Njan Prakashan,' we set aside conventional definitions of a hero. Fahadh Faasil does not play a protagonist who wins all the time and you can see the character flee during fights. Such a hero is a rarity and the viewers could easily identify with him.

In a movie, you're just passive; you're just watching a story that is told to you. But in games, I saw that you could be the main protagonist: you could be in the shoes of the hero and make the decisions.

On reading the first part of Anthony Powell's four-part masterpiece, 'A Dance to the Music of Time,' I was struck by one of the characters - an irritating peripheral character- who keeps showing up in the main protagonist's life.

Each of my novels features a protagonist undertaking a difficult personal journey. On the way, each of these characters - mostly female - discovers something about herself and at the same time makes an impact on other people's lives.

Should you create a protagonist based directly on yourself? The problem with this - and it is a very large problem - is that almost no one can view himself objectively on the page. As the writer, you're too close to your own complicated makeup.

Everyone talks to their dog, and then in your mind the dog talks back. A talking dog can provide the words that a stunted protagonist finds difficult to muster.

I believe there are aspects of the narrative that become easier to understand by shifting the focus of the story to the characters. Illustrating growth and change in the protagonist becomes a simpler process, and these changes are, in fact, one of the themes of 'Sekiro: Shadows Die Twice''s story.

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!

The film's star, Eminem, doesn't appear to have a great deal of range, but he can play himself. Even though the protagonist is named Jimmy Smith, the thoughtful '8 Mile' is a raw version of the rapper's own story.

When the protagonist breaks the fourth wall by looking at the camera in a movie, it's generally been used for comedic purposes, rather than feeling like they're looking into your soul.

I'm looking for the thing that is different from the antagonist in 'Stranger Things,' different from the protagonist in 'Power Rangers,' and something that will really continue these two amazing opportunities I've been given.

You can, I think, have a quiet and steady protagonist and not run the risk of terminal dullness as long as exciting things happen to them and around them, and crime is the ideal genre for making this come about.

The book says, 'Vanity Fair - a story without a hero.' Becky is effectively the protagonist, the hero we follow. But she is flawed. Becky is a subject of her own time.

There's a bizarre insistence on how a story should be. 'The protagonist must be sympathetic!' they say. Whatever that means. I never engage in that discussion. I never use that word, 'sympathetic.' I just know 'interesting.'

I'd describe 'Born to Kill' as a 'study in psychopathy', it's very much in the heads of our main protagonist, Sam, a young boy dealing with dark, twisted psychotic desires. It's also a coming-of-age story.

The reader is going to imprint on the characters he sees first. He is going to expect to see these people often, to have them figure largely into the story, possibly to care about them. Usually, this will be the protagonist.

I'd love to write something for a male protagonist. That's sort of the next frontier for me. I think it'd be really amazing to write the kind of parts that I love for women but for a guy.

I'd read 'Paradise Lost' as an undergrad at university but remembered little about it. No, not true: I remembered few details, but carried with me with the persuasive arguments and pitiable dilemma of its arguable protagonist, Satan.

I've always felt that it didn't feel right for me when a protagonist goes through a storyline where they're killing a lot of enemies, and at the very end of the story he ends up kissing the heroine and that's where you end the game.

We often know only one version of the story... the version portrayed by the person who wins a war and lives to tell the tale, and the one who loses a war is always remembered as the 'Antagonist' making the victor the 'Protagonist.'

This dazzling, unput-downable debut novel proves beyond a doubt that Dan Wells has the gift. His teenage protagonist is as chilling as he is endearing. More John Wayne Cleaver, please.

I hate the whole übermensch, superman temptation that pervades science fiction. I believe no protagonist should be so competent, so awe-inspiring, that a committee of 20 really hard-working, intelligent people couldn't do the same thing.

The leading character isn't always the most important or interesting character; when people think that the protagonist is the character portrayed, it's people who haven't read Shakespeare.

A lot of times in films, the protagonist is either the leader of the group or the nerd of the group. I've never identified with either of those things.

I suppose the textbook definition of an anti-hero is pretty straightforward - a protagonist who embodies not only heroic characteristics but also some characteristics typically deemed non-heroic, even villainous.