Xavier Dolan Quotes

I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.

I don't understand that, because I think that what people like most about the show is that they recognize themselves in the characters and their problems, so the more believable the family is, the more we can draw the audience in.

When a family film is done well, there's a character that every member of the audience can relate to. I want to be one of those guys.

If you depict one home and the drama moving around one family, people love it because the characters become identifiable.

You play the honesty of the characters and show a side of them that people can relate to and want to get to know.

Maybe I'm more drawn to those kind of parts because they are meaningful to me. I mean, more parent-y ones, I find them interesting to do.

You treat characters like people you meet in life-friends or mentors.

The stories in 'Parenthood' are so much the stories of our lives. And the people who have worked on the show feel very connected to these characters.

There's something about the alchemy of the show - the actors, the writers, the directors, the editors - that makes 'Parenthood' unique. You get so deeply embedded with these characters because you go through life with them, and that's our priority.

I work very hard at creating complex characters, a mix of positives and negatives. They are all flawed. I believe flaws are almost universal, and they help us understand, sympathise and, paradoxically, feel closer to such characters.

Everyone loves characters that are relatable or who have unique quirks or tragic flaws.

You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.

I changed my mind because of a scene between Howard Cunningham and Richie. The father-son situation was written so movingly, I fell in love with the project.

I like to branch out as much as I can, but I feel like the movies that are closest to my heart are 'The Wackness' and '50/50' - the ones that are dramedies that have that human element to them.

I'm focused on finding characters I connect to.

When the characters are believable and endearing, action scenes, for example, make an impact. Otherwise, the audience gets no kick out of action. The biggest strength of 'MCA' is that its characters are real.

Whether it was 'Gangs Of Wasseypur' or whether it's 'LSTCK,' the characters are real, and when you see them on screen, you can identify with them.

Uttaran' works because it has real emotions and situations. Of course, some drama is essential in a television show, but people connect to the characters.

All my characters have been relatable.

I believe in characters that can be tangible, and that you can actually relate to.

I've always liked working on stories that combine people who are relatable with something insane.

I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another. It's not that they all get along, or that there aren't bad people or people we make fun of. But at the core, there's a kind of sweetness.

I remember when I was a kid, I loved Sherlock Holmes. I thought Arthur Conan Doyle was one of the greatest writers, because I felt I knew Sherlock Holmes. He existed to me. When I went to England the first thing I did was go to Baker Street to look for his house. I think you've got to try to make all of your characters as empathetic and realistic as possible.

I think if you create well balanced characters that are well represented, boys and girls relate to them whether they're boys or girls.

I love that in this movie [Everybody Loves Somebody], you almost want to go and hang out with this family.