Jason Aaron Quotes

I'm attracted to those kinds of roles that could be good or could be bad, and you just don't know.

I'm always going with my visceral reaction when I read a script. I am more drawn to characters who are conflicted, and in developing a character exploration. If it's a baddie, I'm rarely intrigued, and if it's a goody two-shoes - too much of a good guy - I'm not, either.

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.

I like playing complex, interesting characters. Sometimes I don't think there's much of a strong line between right and wrong for a character. Every character is somewhere on a moral spectrum.

It's really interesting to play someone you wouldn't want to ever spend more than a couple of drinks with - but who has redeemable characteristics.

I did a play once where a reviewer said, 'Martin Freeman's too nice to play a bad guy.' And I thought: 'Well, bad guys aren't always bad guys, you know?' When I see someone play the obvious villain, I know it's false.

Very few of my characters are totally heroic or totally villainous.

In the best works of fiction, there's no mustache-twirling villain. I try to write shows where even the bad guy's got his reasons.

I'm not sure why I'm so drawn to heroes who do bad things and to villains who think they're the good guys, but I do find that moral ambiguity and conflict makes for great characters.

If you don't care for the villain, if you don't love him and hate him at the same time, then he's just boring.

It's as boring to see a completely evil villain as it is to see a completely good guy.

The bad guys are not typical; they are not just bad, they are interesting. They might be good or bad.

In general, I think writing characters, no one is 100 percent good or bad, and certainly, the bad characters never think they're bad themselves. Even the worst characters don't feel like they're bad guys on the inside.

My theory of characterization is basically this: Put some dirt on a hero, and put some sunshine on the villain, one brush stroke of beauty on the villain.

It's certainly more interesting for me as an actor, but I think it's also more interesting for the audience to see three-dimensional characters, rather than just a bad guy or a good guy.

I thought that would be kind of cool, to make a bad guy look sympathetic.

Usually, characters that are doing something nefarious have some extra layers to them. The general rule is bad people don't necessarily think they are bad.

I want to look at this character from all points of view. I know I don't want to make them all good or all bad or all anything... the story itself often helps create the character.

No characters in 'Stay Close,' including the leads, are black and white. I want them to be grey. I think that makes for a much more interesting reading experience, something that will stay with you a little bit longer.

I love to make even villains people you can relate to. When you find out who did it, I think you almost like the person, which is not easy to do.

I think a villain who starts his morning looking in the mirror, wringing his hands, and going, 'How can I be evil today?' is not an interesting villain. An interesting villain is a person who you understand on some level, I think.

I like movies that make you semi fall in love with the villain so you have sympathy for him.

I think the parts that I played sort of broke the mould in terms of - you know, I played grey characters, the bad girl with a good heart, there was a good reason for her to be bad.

A lot of the best villains are the ones that think they are right. That think they are the good guy.

I'm interested in flawed protagonists. I was raised on them.