Asghar Farhadi Quotes

I think if you're too embroiled in the need to relate too closely to the character, then you start to judge the character for the audience rather than to present it to the audience for their enjoyment and them to mull over the questions that the characters present.

I think if you find that you're making a judgment on the character, than your audience will make a judgment on the character.

I'd rather let the fiction speak for itself and I don't want to write fiction that tells people how to feel, and I don't want to be judgmental in the fiction.

I usually look at things like that from an audience perspective first, then have a closer look at the specific character they're talking about me for.

So you can't judge the character you're playing ever.

When it comes to films, people often don't differentiate between the message of a bad central character and the message of the film itself. They are two separate things.

Don't go around asking the question, 'Is this character likeable?' and expect that to be compatible with serious literary endeavours. That's not what it's about.

I never judge the characters I'm asked to play, and I don't need to feel that they are a part of me.

We often compare the experience of writing a book to that of playing God. It is up to us, and only us, to determine what happens to the people we invent. It is for us alone to determine what is good and bad, just and unjust, appropriate and inappropriate for the worlds we create. I love that about writing books.

But generally I think I'm a good judge of character - you have to be as a DJ to read the crowds and understand their vibes. You can use that to suss out a lot of people.

I don't necessarily set out to teach or say anything in particular in my writing. Morals and themes come out as I'm telling the tale.

Usually viewers are attached to a character or that character's personality. But, in my case, I have been exceptionally lucky as I have been accepted as Shweta.

Mark Haddon's 'The Curious Incident of the Dog in the Night-Time' was published while I was trying to work out how to write 'Elizabeth Is Missing,' and reading the story of that impaired amateur detective gave me the licence I needed to attempt one of my own.

If I write a cop show, it's not up to me to decide how different it is from 'Law & Order.' I had screenwriters go on and on and on about how their cop show isn't like any other cop show on TV. They made very good points, and it absolutely doesn't matter. It's entirely up to the audience to decide.

I made 'St. Nick' on a 30-page outline. 'Aint' Them Bodies Saints' was a full-bodied script, but it still had a lot of room for improvisation. There were scenes that weren't there on the page - just a sentence saying something happens. I was like, 'We'll figure this out when we shoot it.'

What I like about 'Paper Girls' in particular is that, because we're approaching it more from a female perspective, we're able to consider the emotional states of these characters a little bit more and think more of their interiority.

I think we're so advanced when it comes to watching narrative material. I mean, it's all we do is consume content all day long. So when a character walks onscreen, you immediately start making connections for that character: Is that a good guy? Is that a bad guy?

I may be a star in the South, but when I go to Bollywood, I am a clean slate, a white paper. Whatever the director makes of me is what I will become for the audience.

I don't approach my character in a set pattern. I want to get into the skin of the character. I don't love Manoj Bajpayee; I love all my characters. And that is why people today remember all my roles.

I love indie movies - I feel they can really allow you to develop a character.

It's not easy trying to get into the psyche and behaviour patterns, which are far removed from one's own personality. Some intense characters linger long after it's over on screen.

Writing is so fun precisely because if you take out the right adjective, the readers can decide what kind of book is in their hands. Suspension of disbelief should not be mandatory in contemporary writing.

The thrill of doing television versus features is, in television, you get to focus more on the characters.

To have a right estimate of a man's character, we must see him in misfortune.

Jesus Christ said 'by their fruits ye shall know them,' not by their disclaimers.