Johnny Depp Quotes

Most of the people at my headline shows are in their 20s, but it varies a ton: like, I've had a six-year-old hug my leg after the show and a 60-year-old shake my hand. It's cool to see people connecting with the music across different generations.

I'm not saying I have to write a book that's ten times better than my counterparts, but I do think that I have to concentrate my efforts on writing something that will really engage people's humanity and will tie readers to my characters regardless of race. I have to prove that I can connect with a wider audience.

Television series always have a lot of characters because you want people to identify with someone on the show, who will be your eyes.

At the end of the day, if you don't identify with the main characters, no television show will work.

The thing for me, and I can only really judge this by what I respond to myself as an audience member, I really only respond to a movie if I'm interested in the people who are in it. It's really that simple. If I'm not, then it's all noise.

You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.

When you go to the movie theater and the opening of this movie and you see the kids just cracking up with a character you are giving your voice to, you get goose bumps. It's so beautiful.

There's no rule that we have to like the characters movies are about.

I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.

If you can't laugh at your own characters, or shed a tear for them, or even get angry at one of them, no one else will either.

I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.

In the moment when you're doing a show, you're thinking of that moment, but you don't think of, 'Here's down the line how people will be relating to the characters.' There's something very universal about 'Sex and the City' that people are still tapping into, where every generation seems to be discovering for itself.

I've had a couple of people come up to me after screenings and say they kind of sympathized with the character. I always get a kick out of it when people say that. It means I did something maybe a little bit to the credit of the character.

I think it's great to see that there is such a connection to film music and the way people react or connect to a character or scene.

I find it very funny as well as touching that people associate me with these characters I play and form a connect with them.

A lot of horror movies just look at how they can scare people, and no matter which character dies, you don't ever really feel enough to actually care.

I think it's touching that the fans feel so close to the characters that they feel personally hurt. I've felt that way in plenty of TV shows - 'Game of Thrones,' 'Mad Men.' How could they do that to that character? That's drama.

If you care about [the characters] as if they were real, that always helps.

It doesn't matter whether characters are real people or not; if they're not vivid on the page, then the reader doesn't care about them that much, and, if the reader doesn't care about them that much, then they don't care what happens to them.

You really have to do your job as a writer and push people to be as creative as possible. What's nice about the TV medium is you have such a connection to the characters that when somebody dies, the audience cries. They really feel it. You really don't cry when someone dies in a horror movie.

Which of us has not felt that the character we are reading in the printed page is more real than the person standing beside us?

I've made movies on every part of the spectrum, and you do understand when you go into certain movies that you're trying to elicit a certain kind of response from the audience, and people get a real sense of satisfaction when they're rooting for a character and the character pulls it off.

Comedy always works better when you're tracking the story and you care about the characters. That's why there's a lot of movies where there's not a ton of jokes, but you get huge laughs because there's a moment of relief.

For me, the key is always trying to find the connection between the audience and the character I'm playing. That's important to me, in any work I do.

One of the things I've found really interesting about the show is that a lot of people really relate to our animal characters, more than we thought they would. Part of that is, because they are animals, people project themselves onto them. If BoJack just looks like Will Arnett, people go, "Oh, I know who that guy is. That's a Will Arnett type." But because he's a horse, people can go, "Oh, I'm kind of like him in some ways."