Taron Egerton Quotes

The idea behind 'Gloria' was to take a secondary character - the aunt, the mother - and stay with her as she becomes our protagonist.

My only criteria while selecting roles is that it should be a lead part in an interesting story where the character has depth and layers.

Your opening should give the reader a person to focus on. In a short story, this person should turn up almost immediately; he should be integral to the story's main action; he should be an individual, not just a type. In a novel, the main character may take longer to appear: Anna Karenina doesn't show up in her own novel until chapter eighteen.

I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your 'moment,' or whatever. The story is a lot bigger than you, and you're there to help it along.

Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.

For me, it's about the impact that the role has in the film overall. Less or more screen time, whether I get to romance the hero, is not the yardstick I go by. If my part is strong enough, then why not?

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.

It is quite different, but I love doing a series because you get to live with a character for a much longer amount of time. And the other aspect of it is that you have a steady job.

If we get to shoot the third one, which I'm really hoping we do, the third one's great. There's a big uprising and rebellion, and my character Gale's a big part of that. If we get to shoot that, I'll be very, very pleased.

I have to have a character worth caring about. I tend not to start writing books about people I don't have a lot of sympathy for because I'm just going to be with them too long.

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.

I tend to relate to a character in terms of the arc: what's interesting is where he starts versus where he ends up.

When writers don't know what to do with a character, they build up the supporting cast and universe to kind of hide that fact. After a while, you can no longer see the character for the underbrush. When that happens, you need to bring out the weed-whacker to clear some of that away so you can focus on the main character.

I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.

It's hard to hold the focus that strongly on a single character for that long.

An actor should never be larger than the film he's in.

Well, a lead is the most important thing about the story.

We seek to craft characters who inspire empathy: characters our audience will care for and, as a result, will care about what happens to them and thus will share the journey we have charted. A story, after all, is the character's journey.

I love playing Blair Cramer, and I'm thrilled to see what more they have in store for her. After playing this role for so many years, I still feel like there is so much about her that is still untold.

When you're doing a movie, it's finite - you have a trajectory of where your character's going, and you follow that. Then the storybook closes.

It wasn't until 'Double Take' that I was in a movie as the leading man, in a character that was more straight and less broad than the other character, and where the story is really about him.

You want, in a sense, to relate to the main character, so often, the main character POV is a bit more of a blank slate.

Alison Carr on 'Homeland.' She was such great character to play, so clever and full of surprises. I was sad to see her go.

You have to have somebody to root for. I truly believe that's how you ground a movie. You ground them in the characters.

For me, the story must be the hero of the film. The screen space or the length of my role does not matter.