Michael C. Hall Quotes

I've found that the common humanity of people is the most relatable thing, and even if your stories are very specific about a different place, if you have a relatable core of humanity, people will go along with it.

I tell stories about people audiences might think they have nothing in common with, then they emotionally connect with them and find they're not different at all.

Human beings have a lot of problems identifying themselves with other human beings who don't resemble them exactly. But there's something about drawing that means that anyone can identify to a drawing. I mean, people can identify themselves with Donald Duck and Mickey Mouse.

Some films clearly seem to divide people. And I do think there's something incredibly exciting about the commonality of us as human beings, which some films are lucky enough to tap into.

I think, above all, the characters in my novels feel universal to the readers.

You want people - I want people to relate to me as a character. I want them to go, 'That could have been me,' or, 'I know someone like that.'

That's the rub about 'Community' - for all the high-concept cleverness, it really comes down to vulgar humanism, the dumbest kind of sentimental identification. We watch it because we like these people and we miss them when they don't show up. They become part of the stories we tell ourselves.

A lot of the emotions we portray are universal themes that resonate with everyone, so the fact that people feel invested in our partnership is truly remarkable.

Something like a 'Maheshinte Prathikaram' will work anywhere in the world because it speaks of something that is beyond language.

I think that human beings are often looking for a reason to relate.

That's always been the process of our music, in a sense, keeping it simple, not being so heavy that you are beating people over the head, it's just weighted down and it's like, "oohhh I can't relate." People are able to relate because we talked about things that everyone has experienced, it doesn't matter your race or genre. Music was your mainstay. There was something in our element of music that connected.

The character is close to me, except that I haven't lived through those situations, so it's not completely me.

I love the fact that people can relate to what I'm saying, even if it's not for the same subject I was writing about. That is the power of real music and real expression.

I think that talking about the personal specificity, personal details, is how you get the big, big audiences - by talking about your relationships or your personal tragedies. If you reach out with that energy, you'll touch people.

And that's what people want to see when they go to the theater. I believe at the end of the day, they want to see themselves - parts of their lives they can recognize. And I feel if I can achieve that, it's pretty spectacular.

Because they're my stories, they're my version of events of the past three years. But I really hope people can hear their own stories within the songs and they can become our version of events.

I've always believed you go to literature to find the shared human experience, not the categorized human experience.

A reader should encounter themselves in a novel, I think.

The Big Chill is one of those things that everybody can identify with. Between eight characters, they can pick somebody who's somewhat like them.

I relate to people and roles that are about the arc of human experience, things that everyday people deal with every day.

I think that the beauty of 'Spud' is that everyone can connect to the character of Spud in so many ways. It's about real experiences that happen to kids all the time.

I love relatable stories.

You say to yourself: 'What could people, in all these countries, find in my books?' and yet I think we're all the same, anywhere. Everybody is a hero or a dramatic person in their own story if you just know where to look.

I love stories about people that, whatever situation they're in, you can relate to them in a way.

You don't ask people about the immigration policies of the U.K. or their country's agricultural policy. Instead, you talk to them about the meal they're eating or their family, and from that you get the sense of another human being, someone we can all relate to.