Cody Rhodes Quotes

It would be hard to play a character you don't like - for me anyway - or can't find something in them to like.

Very often the characters people respond to best have little parts of reality they can relate to.

Anyone could identify with the human aspect of the characters.

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all.

Trying to find a human side to the character is a way to give them a chance to have people like them.

With my writing, what I want to do is humanize the young people I write about.

I think that talking about the personal specificity, personal details, is how you get the big, big audiences - by talking about your relationships or your personal tragedies. If you reach out with that energy, you'll touch people.

And that's what people want to see when they go to the theater. I believe at the end of the day, they want to see themselves - parts of their lives they can recognize. And I feel if I can achieve that, it's pretty spectacular.

When you have a chance to play a character people can relate to, it's rewarding.

When I approach any script, I always try to find what I would relate to most in it.

I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.

People see truth in my films. That's what they react to, and that's what they relate to.

If you show you're human and have something to say, people will connect with you.

Flaws make us all human, and you're rooting for characters because of those flaws. It's ageless if you're interested in relationships and the way people can or can't relate to each other.

While eschewing emotion - and its companion, vulnerability - Obama should be careful not to sacrifice empathy, the 'I feel your pain' connection that sustained Clinton. This connection is the shorthand people use to measure their leaders' intentions. If people believe you're on their side, they will trust your decisions.

To connect with the characters, you need to connect with the world. If the world feels vaguely familiar, I believe the characters will feel relatable.

It's a unique thing, and it's probably the thing I love most about songs and music - their ability to connect in a human way.

In terms of the parallels, I've never related less to a character than Riggan.

I just think that good stories are stories that reflect ourselves back at us and each other.

I just always want to play people. I don't want it to be necessarily that you relate to the character as female or male, but that you relate to them as a person. That's the driving force.

That's the power of fiction, that it can take the collective and make it personal.

I'm focused on finding characters I connect to.

You have to present characters an audience can relate to.

When I read, I don't need a character to look like me, act like me, or think like me. I don't need to have my heart broken. I don't need to be surprised or amused or challenged, and I don't need to swoon.