Rishi Kapoor Quotes

I like my characters to be ones I think about long after I've finished reading the script.

In the writers' room, when we talk about each episode, we first talk about the character journey of the episode.

Plot makes the character just as history makes the man.

For me, one thing I love is having an arc for a character.

If you have great characters, then your reader becomes emotionally invested in those people.

Lucifer likes to have fun, but we need to make sure that he's also rooted in a proper journey. For the first few episodes after a pilot, you're just trying to establish your world and the starting points for your characters. But I feel like, as the stakes went up, the 'Lucifer' veneer got less and less.

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

I like to write about characters who are conflicted.

I want to do roles that are important for the story and not there for ornamental value or to just aid another character in the film which is often a 'friend's role' in mainstream films.

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.

In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.

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.

My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.

To me, it doesn't really matter how big the part is as long as the part is important to the story.

I like taking a character at the most intense moments of their lives and exploring all that in full and then moving on.

I'm interested in telling the character's story, not my beliefs, political or otherwise.

I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.

One pleasure of working on a trilogy is watching characters warp and grow over time.

I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.

I can never kind of fathom a character's journey beyond the moment when you go to black, any more than when people ask me what Jason Patric did with the tape recorder at the end of 'Narc,' you know what I mean? Even in 'Blood, Guts,' like, what happens down the road with these characters?

I usually start with a repulsive character and go on from there.

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.

My books usually end where they began. I try to bring characters back to a point that is familiar but different because of the growth that they have gone through.

I'm drawn particularly to stories that evolve out of the character of the protagonist.

I love the trilogy form. I like the idea that you can establish a character in book one. And then in the second part, you can take the characters down to their darkest point. And then in the third part, you have total freedom either to give them redemption - or just to kill them.