Jason O'Mara Quotes

But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.

The best shows are always the ones that are very, very low-concept and just about great characters.

It's nice to see different dimensions of a character. A love interest and family life are always, I think, important in creating layers and textures.

I've always loved shows that combine both approaches - that have a mythology and a set of characters, whose stories develop and change, and where the relationships evolve and fracture.

If you give a character room to breathe, they come alive.

'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.

I spend a lot of time with my characters.

I'm tired of playing freaking cha-chas, the sassy CIA agent, the best friend homegirl. I'm tired of that!

The bedrock of 'Being Human' has to be characters. I would hope that even if suddenly we had a huge budget per episode, the foundation of the show, and the thing that actually makes it what it is, is character.

I always look for interesting, complex characters. You know, interesting, well-written material.

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.

“Frank’s” really different from everything I've done. Maybe the one thing that's the same, and the thing that I tend to do, is that I think I can create an intimacy with the characters, like a sense of presence with the people in the film, and that's what I tried to do in “Room” as well.

When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.

All the movies I've made are essentially character-driven movies about people that I'm interested in.

The interest in character-driven content over narrative-driven ditto is increasing; that's why television steps in. Personally, I love it, since psychology and character, really, are my beacons.

I once took a workshop with Jim Shepard, and he has this term, 'rate-of-revelation,' that has come to mean a lot to me: 'the pace at which we're learning crucial emotional information about the stories' central figures.' An ever-increasing rate-of-revelation is good; a stagnant r-of-r is not.

You decide which characters you want and then do the best you can to bring their humanity to the forefront in the context that you place them in - the crises in which you've placed them.

I like taking a character at the most intense moments of their lives and exploring all that in full and then moving on.

You treat characters like people you meet in life-friends or mentors.

I've always been interested in character-driven pieces, and my approach to directing is through acting.

It's people politics, people dynamics that make a show really good, whether it's 'Desperate Housewives' or 'Lost' or 'The Sopranos.' It's the people we've grown to love or otherwise.

Supporting characters add depth to a story, and great actors leave their imprint with the audience.

I quite like some of the movies that have many characters in them.

The characters are always the focal point of a book for me, whether I'm writing or reading. I may enjoy a book that has an intriguing mystery or a good plot, but to become one of my real favorites, it has to have great characters.

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