Jeremy Podeswa Quotes

If we get caught up in a story, it's because we've started to care about the characters, and that can only happen if we've moved beneath the surface.

I don't think people are ever going to a place where they're like, 'I'm over stories about character and love.'

I try mainly to just focus on character and what my character's point of view is, with each person, and try to figure out story.

'The Last Of Us,' to me, is just amazing storytelling, because everything's from the character point of view, which even movies don't really do successfully a lot of the time.

Besides the mistakes that are pointed out, I love the way readers become involved with the characters. When readers start asking about character motivations instead of concentrating on the special effects, it means you're connecting with them on a personal level.

In the end, drama is successful if you care about the people.

You can film the most exciting car chase and the most exciting stunts, but if you don't care about the person inside the car, and you don't care about their predicament, you're not really going to care about the action, either.

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

As a novelist, I'm endlessly fascinated by human behavior and interactions.

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

I think I would struggle with any job if it was purely about effects. Even as a viewer, those aren't the kind of things that interest me. I think ultimately you have to be connected to characters and their relationships. Otherwise, it's not drama to me.

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.

I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.

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

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.

As a viewer, I care about people, I care about characters, I care about perspective.

What's great about 'Game of Thrones' is they change the perspective, the POV, all the time. So you will have one story told by one character and you'll go, 'Oh my God, horrible', and then maybe the season after you have the same story told but from the person you thought was just the most horrible, vile creature.

The trick to making a story matter is that every now and then, somebody you care about has to go. If it's somebody that you don't care about, then it doesn't really have - the stakes aren't there. But if you do that every now and then, then the story matters to people. And there are actual stakes involved, emotional stakes.

Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.

My stories are character driven.

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.

If you don't have people that the reader cares about and stories that are gripping, you've got nothing.

First and foremost, I consider myself a storyteller. And I'm endlessly fascinated with people, with what they do and why... and how they feel about it. Which means I'm interested in romance fiction. I was drawn to it, as both a reader and a writer, at the very beginning of my career. It's my kind of storytelling.

I just reached the point where plot-driven novels don't hold my interest because I don't care about the fate of characters anymore - whether Emily marries Tom or not, that kind of thing.

All topics, issues, and subjects in 'The Room' add to the depth of the characters in the movie, and they are equally important.