Amber Heard Quotes

I have always argued, in a good novel, interesting things happen to interesting people.

Unlike novels with a hero or two heroines, in 'One Amazing Thing,' all the characters tell stories they've never told anyone before, so all the voices become equally important.

Normally when I'm sent a script I'll read it through to see how it hangs as a story and then I'll go back and read it through again and look at the character.

Creating characters is like throwing together ingredients for a recipe. I take characteristics I like and dislike in real people I know, or know of, and use them to embellish and define characters.

I try to trace the connection between the characters and that way a story or plot emerges.

The stories that I like to tell and the movies I like are always grounded in the emotional arc of the characters.

It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.

'Ender's Game' has fabulous opportunities for spectacle, where appropriate, but there's also a tremendous central character. It's a balance.

'Push' had a story, 'The Paperboy' story you could just throw up in the air and shoot holes through the book because the story wasn't as strong. But I felt the characters were stronger in 'The Paperboy'; they were vivid.

It's necessary to track characters all the way through an opera. If you're dealing with more than one or two characters, it's very easy to forget that the others have lives of their own that feed into the story.

You don't go around thinking about how characters in a movie, in the stories you make up, relate to people in general.

I don't even mind playing a bimbo or a silly girl, as long as it isn't stereotyped and there's a reason for that character to be part of the story.

For me, any story I tackle begins with the human relationships and not the plot.

Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.

Great novels have great characterization no matter what. But multiple points of view let me examine characters from entirely different perspectives, allowing me to learn more about everyone in the process.

There is no better place to plot the death of a character than when you're miserable and working out.

Keep everything in context, and try to have each line doing more than one thing - not just giving exposition but also revealing character and history, etc.

I've been playing with this idea in my mind that the hero's journey that we're all taught as screenwriters may resonate more specifically for male protagonists and maybe even male viewers.

The trick is to try and justify every word on the page and make sure my character is the man who would say that.

So much of comics are dictated by characters talking to one another - or in focused spaces where 'the camera' has to stay in pretty close on what's going on.

In judging other people's work, particularly short stories, I have noticed how novice writers tell the readers everything about their characters in the first paragraphs, disclose their motives, reveal their recent activities and their future intentions.

One thing George R. R. Martin does is surprising things to main characters. But he says so himself.

Although a novel takes place in the larger world, there's always some drive in it that is entirely personal - even if you don't know it while you're doing it.

Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.

Characters are the key to a good book. It took me several novels to comprehend that.