Angad Bedi Quotes

I think every character is important in every film - be it small, primary, or lead - because they are adding something to the story, taking it forward.

I like movies about people and movies with characters; that's what I'm drawn to as a person who likes to create these characters within the story, but I like it all, really.

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

I like dialogue in novels. I wanted to avoid laying history on with a trowel - appearing to be lecturing, as opposed to the characters lecturing their children or students. Dialogue can humanise the story and make it go down somewhat more smoothly.

The producers felt that 24 would be good for the audience, to really get to know who these 12 and 12 are.

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.

The 'Lost' style book is really quite set. We do things like, we walk through the jungle, and we stop and turn and talk to each other. We never talk and walk. We always stop to talk.

I realized there's a difference between creating a character and sustaining a character. The challenge that comes with sustaining a character is that you have this sudden impulse to think about all the things the audience liked.

I've never been interested in watching or reading anything because it's the hero's story. I don't feel the need to be inspired by the character or learn a lesson. I feel the need to be engaged by them.

The idea of having different characters is really just to get the storyline across, you know? Coming from one particular character makes, to me, the story boring. I get that mainly from novels and that style of writing or movies where there's multiple characters who carry the storyline.

Audiences need to engage with characters.

Whenever I write, I write very dialogue-heavy things because I love to force my characters to interact with one another.

You have to be involved and relate to the characters in order to make a film that is true emotionally.

One of the things that separates a good genre movie from a bad genre movie, I always think, ironically, is when you care about the people. The dime a dozen ones are where you don't have any awareness of the character.

I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in the playing of a character.

I think I can speak with a degree of authority... today, the biggest driving force of movies is pace; God help you if you try to put in a scene that is about character and not plot.

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

I think all television has to be about relationships and I don't think horror for the sake of it can work unless you're able to ground it in some kind of relationship.

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.

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.

There are two different forms of storytelling: Novels tend to come from the inside of a character, and movies tend to look at them from the outside in relation to others in their world.

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.

If you know exactly what your character knows, it's a drama.

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.

I usually don't find myself reacting to my characters. I just create them ... And let the audience decide whether they're empathetic or scared or compelled to cheer me on.