Amala Paul Quotes

I don't mind playing a supporting character if it has some substance.

My only criteria while selecting roles is that it should be a lead part in an interesting story where the character has depth and layers.

The film industry is mostly about unidimensional characters.

I think books with weak or translucent plots can survive if the character being drawn along the path is rich, interesting and multi-faceted. The opposite is not true.

It's nice to create a character, not just within two scenes, but within the journey of a whole movie. It's fun to do that.

The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.

Mostly, I have to say as an actor, to find a character that's been rich enough for 10 seasons of shows... that's very rare.

Characters can become boring. That's what's tricky about television. It goes on and on - you're playing this same character for five seasons and it gets easy to fall into just walking on the set and assuming you know how to play a scene.

Quite honestly, I think that if you are making a lot of television programs with a central character, then ultimately it can become boring if you know nothing about them. I personally want to know, or get to know, things about a character. It doesn't mean to say that they still can't have a certain mystery about them.

There's no particular role that comes to mind that I'd like to take on, but for me, it's about playing interesting characters and not just two-dimensional ones.

A lot of times, scripts are written so the character is all one way. Even with 'Bringing Out the Dead,' the character was written a little more generic.

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.

The most I could hope for is to come and try and develop a character who is interesting, who is interesting to me, who is interesting to fans and who could contribute to the storytelling that is 'Law & Order: SVU.'

I've always wanted my characters to have more dimension and realistic cores than the ingenue material often provides. It's been a challenge.

I'd never thought much about a series, because I liked the idea of picking a script I liked with a character I thought I could sustain for an hour. In a series, you live with one character day in and day out - and you only hope it will be one that will not drive you crazy.

I'm sorry, but to ask an audience these days to invest three hours in a show requires your heroine be an understandable and fully rounded character.

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

I wanted more in depth ideas about the character and it never came.

When I was on 'One Life to Live,' I always wanted to delve into my character, Layla, to find out why she was the black sheep of the family. I so wanted to have some edge. I have no idea why there was a reluctance to do that or why we so rarely see it.

I do feel more towards certain characters who have depth and intelligence.

The thing I respond to the most is just great writing, interesting characters. I like to think that there is something fun about playing a character that has a lot of authority in her own life.

In a short story, you can use someone - we're only going to be with that person for maybe 10 pages, and they can have sort of a one note personality. And in a novel, you need to have arrows pointing more than one direction for that person.

The more conflict and contrast you have with a character makes it more interesting.

Everyone likes a bit of variety. I'm sure none of my readers only want to read about anti-heroes or villainous protagonists any more than they only want to read about square-jawed heroes doing the right thing. I just write characters than entertain me and hope they'll be ones that other people want to read about, too.

You know, we have to take these characters - who, granted, have their separate personalities but, on a lot of levels, are pretty two-dimensional - and make them into people with flaws, with insecurities.