John Lee Hancock Quotes

There's such an emphasis on having a character be likable. I don't think it would be helpful if I worried about that. I mean, not everyone's likable.

And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.

I know myself - I cannot just play a cliche. It has to be a character; it has to be written with the complexity of the human being behind. Could be bad, could be good, could be someone we would hate, but still, I need a reason for that influence, and I need to understand why.

I felt they had really moved the characters in a direction that was very interesting. The family had really felt the impact of what had happened to the.

If your character is just out there acting a fool, viewers are gonna say, 'Why am I watching this?' But if he's whispering, 'I don't really want to die,' there's a level of vulnerability cemented in these bad characters.

I like the characters that have some redeeming quality or if it's interesting to me in any way.

I choose grey characters, as I enjoy playing a human character. I don't shy away from showing the shortcomings of my characters.

I think what people watch television for is the emotional continuity, from episode to episode, and feeling that the experience that they had, four episodes ago, has actually been building to an episode that comes later, and knowing that the characters are growing, as a result of that, and making mistakes, is really, really important to the way people connect to television.

Specifically, we talked about making the character of the prince not so charming, at least in the beginning, and I'm playing around with the preconceptions attached to a character. That's really what intrigued me as well because I thought it would be fun to do it.

In the 'Buffy' room, it was never about a plot twist, ever. It was always about, 'Tell the story, tell the characters, complicate their lives, make things get worse,' but we never worked backwards from the plot, and it was always a great lesson.

People like the comedy more when they care about the characters.

One of the ways that you reveal character is by getting a character into a situation and seeing what they do.

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

When I create a character, particularly my central character, I want someone who is interesting and feels real and who might have quite a few virtues but is unlikely to be perfect, who hasn't necessarily made all the right choices.

It's tough. It's very tricky to throw a morally flexible character onto the screen and have an audience empathize. It's always an exercise in restraint.

One pleasure of working on a trilogy is watching characters warp and grow over time.

I usually start with a repulsive character and go on from there.

The day a character becomes predictable is the day a writer should think about moving on - because the reader certainly will.

It interests me to imagine characters shifting from one situation and one location to another for whatever the circumstances may be.

The thing that I like about the way characters are written on the show these days is that nobody's perfect. Everyone has made a lot of mistakes and bad choices.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

I tend to relate to a character in terms of the arc: what's interesting is where he starts versus where he ends up.

I love it when you like a character, and then she does something you don't like, and you hate her for a while - then you love her again. I'd like to see her have unlikable moments that the audience understands and sympathizes with.

For me, one of the most beautiful and rewarding aspects of serial reality TV is that characters can move freely along a spectrum of heroism and villainy.

Every actor wants to have a character that changes, that has some kind of movement, that gets from point A to point B, that doesn't just supply one note.