Jordan Peterson Quotes

It is much more fun to write about villains then heroes. The villains are the ones that think out the scheme, and the heroes just kind of come along for the ride.

'3:10 to Yuma' was one that I just kept on talking and thinking about after reading it. And I think the reason is because, like in most Westerns, you have the very clear-cut bad-guy/good-guy, however, as the movie progresses, you kind of see that it's a very fine line that divides these two.

I like the yin-yang of a cop's life, where he's part fascist and part saint. That's where the good dramas are.

The way I wanted to write it, is with a hero, or sort of a pure character who was the protagonist. And the antagonists were these demonic evil children, cause when you're a kid, seven or eight years old, and you're looking at the world around you - everything seems black or white, good or bad.

Part of what's interesting about the 'Star Wars' world is, villains are complex, obviously, and they occupy, as in life, different roles within different organizations.

I'm very glad people love 'Breaking Bad,' but the harder character to write is the good character that's as interesting and as engaging as the bad guy.

Most people go, I wish for world peace. But chaos has a place in balancing out the light and the dark in the world. I don't know if I would wish for world peace.

In all our pictures, we had an antagonist who becomes the good guy, and the underdog fulfills his quest.

The nature of good fiction is that it dwells in ambiguity.

My son craves picture books about Transformers and Ninja Turtles and the Hulk; they show one fantastic creature smashing or zapping another into smithereens on page after page. They are dull and ugly and show no interesting stories or models of conflict resolution or character building.

Dark can't exist with the light. Ain't nothing dark about God.

If you look at the great superheroes in any universe, you will always find that they have the very best super villains opposing them. It's because they are foils; they are people that the heroes play off of.

The villain of any story is often the most compelling character.

In any story, the villain is the catalyst. The hero's not a person who will bend the rules or show the cracks in his armor. He's one-dimensional intentionally, but the villain is the person who owns up to what he is and stands by it.

For feel-good fiction to work, there has to be an element of darkness.

Operas elucidate, in a way sometimes absent in other theatrical productions, the very human fact that in every hero, there is a thread of duplicity. In every villain, there is another side to consider: We don't have to like him or her, but we are compelled to think about motivation.

I was involved with the Batman. There are two sides to every story. Now you've heard my side.

Every Luke Skywalker needs his Darth Vader.

I have always found myself playing the hero, but I love villains. Villains have more fun.

I will always have a soft spot for 'East of the Sun, West of the Moon,' which I discovered just at the age when I was beginning to enjoy the darkness in fairy tales but still wanted a story where the good guys win.

I always felt that heroes were essentially dull. Villains were more exotic and could do more interesting things.

The classic epic fantasy is good versus evil, underdog against power.

Cinema is all about going back from shadow to light and back and forth: cinema is a place of transgression.

I think for some reason we're conditioned in movies that the protagonist must be heroic or redeemable in some way, whereas in theater, that's not a necessary.

As a little girl, I didn't like stories about little girls. I liked stories about dragons and beasts and princes and princesses and fear and terror and the Four Musketeers and almost anything other than nice little girls making moral decisions about whether to tell the teacher about what the other little girl did or did not do.