Juan Pablo Di Pace Quotes

You can have an interesting story about a person living an interesting life. And if it's done well, that is just as engaging as the end of the world. A million people dying - we can't process. One person, we can process.

I think writers like to see how people bring their words to life, and it's always surprising. Always, no matter what, whether it's good or bad, it's always surprising because a whole human being is coming to that piece of writing.

I'm taken by a story and a character. I'll read a script, and if it touches me and moves me and makes waves, that's why I'll choose it.

Like when I hear a beat, it might make you feel a way, but then it might make me feel a completely different way.

I just love to share my story with people as much as I can.

I think sometimes people can get lost in the bigger special effects, science fiction, robot stuff, and those are cool and fun to watch, too, but I think it's so important to sometimes step back and watch something that's about life and human interaction.

If a fantasy, if a story can help you feel something, I think that's really cool.

I had a strong visceral reaction to the 'Moonlight' script, partly because I felt I knew all of these characters.

Your job as an actor is to piece together whatever you've learned in your training, or whatever you have experienced in your life, to piece together a person.

My job as an actor is to just tell the story as best I can from my character's point of view and let the audience decide.

My job is to see the world through the character's eyes.

We all have a story, and I wouldn't trade my story for anything.

'Masaan' was a life-changing experience.

I have nine years of scholastic actor training, and what I've learned is that training does not an actor make. You have to have an artful way of looking at things. You have to have a certain point of view. And you get that point of view through experience.

The experience you're going to take the audience on is as important as the story you're trying to tell. And that experience needs to excite me so much that I am desperate to share it.

Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'

What I always do is go with the stories that put up the hair on the back of my neck or make me cry or make me laugh.

That's the difference between even the best video game and what's going on in books. Video games can inspire a reaction, but not the emotions.

I want to create films that will speak to different parts of our hearts and brains, stories told from a different angle.

For me, the first thing is script. When I heard 'Mom''s script, it really touched me and moved me. I felt really nice about the story. That's the reason I did the movie.

It's the writer's job to disarm the reader of his logic, to just make the reader feel.

There were moments in 'Malala,' I felt very moved by the storytelling, and 'pleased' would be the wrong word, but the music could be part of what moved me: that I was trying to contribute to something that was meaningful outside the realm of creative work but just more in terms of the world.

Wrestling and sports entertainment is not about the moves, it really isn't. It's about being able to evoke emotion in one facet or another.

It is very touching that you are able to create some kind of impact through a character.

When you walk past a painting in a museum, if it doesn't make you feel something, then it's probably a failure.