Stana Katic Quotes

Invite characters of surprising and moral character, or at least those who grapple with what is right or those who make decisions that shock.

Everyone spends their lives trying to balance their world between good and evil.

There is the moral spectrum in 'Fargo,' and you see it in other Coen brothers movies, where you have a very good character on one end and a very bad character on the other.

The older I get the more I realize there's no real good guys or real bad guys, and I'm curious about how the good guys got good and how the bad guys got bad.

If this isn’t good versus evil, what is?

The thing that I love about 'Scandal' is every character, it's not clear if they're good or bad. Everyone is both good and bad.

The balance between good and evil, and the choices we make between them, are probably the single most important aspects shaping our personalities and humanity.

Whenever I have tried to make a character bad, they end up being good in some way.

Any time the character is in a moral quandary is interesting. That's been true from the Greeks on down.

The difference is too nice - Where ends the virtue or begins the vice.

Evil is such a simplistic way to describe any character, be it Iago or Caliban, or any character from history.

Very few of my characters are totally heroic or totally villainous.

Are there any good guys on 'Prison Break?' I suppose there might be. I can't honestly say whether I'm a good guy or a bad guy or I'm a good guy in wolf's clothing or sheep's clothing.

Where typically the cops are generally the good guys, 'The Red Road' blurs the lines intelligently and shows corruption from all sides of the law. It provides unpredictable drama where the audience is kept guessing about how these characters will each choose to act.

I love it when you like a character, and then she does something you don't like, and you hate her for a while - then you love her again. I'd like to see her have unlikable moments that the audience understands and sympathizes with.

For me, one of the most beautiful and rewarding aspects of serial reality TV is that characters can move freely along a spectrum of heroism and villainy.

The bad guys are not typical; they are not just bad, they are interesting. They might be good or bad.

I think all of us have a hero and a villain in us.

It's certainly more interesting for me as an actor, but I think it's also more interesting for the audience to see three-dimensional characters, rather than just a bad guy or a good guy.

I love Russell Crowe's line to Oliver Reed in 'Gladiator' where he asks him, 'Are you in danger of becoming a good man?' It's one of my favorite lines ever.

Do not do an immoral thing for moral reasons.

What I always studied in screenwriting from my mentor John Glavin was that the most interesting characters are characters with shades of gray.

When it's a moral grey zone, the audience has to think about what they feel and what they think is right or wrong. You want to affect your audience and make them think.

If you can write a character who is attractive but morally reprehensible, then you've got a character. It's got to feel like people I know and it doesn't just become a bag of tricks.

The characters that have greys are the more interesting characters. The hero who sometimes crosses the line and the villain who sometimes doesn't are just much more interesting.