Valorie Curry Quotes

Sometimes people are like, 'Do you want to play strong women?' I don't have to play strong women in order to feel like a strong woman myself, but I do feel it's important to play characters that are complex and interesting and believable.

I love complex characters - strong females who are vulnerable but have a life and soul. That's what I'm drawn to and what I enjoy most.

I'm interested in characters that are complex people.

I've always tried to be conscious of how I represent women in my work. They don't have to be good or strong women, but they have to be complex.

I don't categorize characters into one syllable. These are fully-rounded characters that I don't judge; I just play them.

I like shows that are surprising and not predictable. That have deep, rich characters that are fully formed.

In other words, the people who populate my books are more than caricatures.

The characters, to me, in 'Homeland' are not one note in any way.

I don't like the idea of playing a one-dimensional character who is just fearless, strong, and killer and has instincts and just thrives in dangerous circumstances - that's really boring to me, and I don't think it represents what most women feel inside.

I always tell my students to complicate your characters: never make it easy for the reader. Nobody is ever one thing. That's what makes characters compelling.

Teens are being portrayed with depth because they are multidimensional, and they deserve to be portrayed as such.

Representation means having characters with layers, showing them as human beings, so we can relate or have mixed emotions for that character.

I just love strong female characters in general, not necessarily because, 'She's evil' or 'Oh, because she's good.'

I like characters who have two different things going on, whether it is Robin from 'Top Of The Lake' having that strength juxtaposed with the vulnerability and being in pain, or whether it is Peggy from 'Mad Men' with her naivety and her sort of idiocy at times, combined with her intelligence and courage really to do what she did at that time.

'Splendour' broke through to new territory for me. It exposed my commitment to writing for women: my desire to recognise that they can be as aggressive, violent, mercurial, and complex as men.

The beauty of Sudhir's protagonists is that they are not shown as black and white. There are various layers to the characters.

I like those really multidimensional characters like Dean Ambrose and Bray Wyatt.

That's what attracts me to the kind of characters I try and write - that they're not cut and dried.

Every character, when it comes to a cinematic representation, gets complicated and layered. You are given a lot of dimensions than a single dimension to an individual. That's the main difference between seeing something out of the window and seeing something on screen.

One of the things that I like about 'Narcos' is that not only Pablo but with all the characters - this is not a black and white show. This is not a regular American cop show where two cool cops go to save a country from a bad guy. All the characters are very complex.

You've got to pick your roles really carefully. It's a lot more fun to play a layered woman, than just someone where what you see is what you get, by far.

I never want to play a character that's one-dimensional.

I think there's grays in characters if you look at all the great characters, those characters that have those layers of being good and being bad and what's the struggle. It's always more interesting to watch.

Probably the greatest writer of westerns himself was Homer. His character were never all good or all bad. They're half and half, these characters, as all human beings are.

Nobody is ever just a straight up protagonist or antagonist - everybody's morally ambiguous.