Peter Dinklage Quotes

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

One pleasure of working on a trilogy is watching characters warp and grow over time.

Novels demand a certain complexity of narrative and scope, so it's necessary for the characters to change.

I think what good television does well is that it shows characters evolving.

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

I'm trying to make all the characters change and grow, or regress.

I look for roles where there is some kind of an arc to the story.

The Duffers like that; they like watching their characters grow.

There is always that thought that you might get stuck with a character. But there's always the notion that every character is always evolving.

I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.

After a while, the character sort of took over.

Every actor wants to have a character that changes, that has some kind of movement, that gets from point A to point B, that doesn't just supply one note.

There's something pretty awesome about staying with a character and growing.

Usually when you have a sequel, the character always stays the same and that's true basically of 'Rocky III,' 'IV' and 'V.' He didn't really change.

For me, one thing I love is having an arc for a character.

With any project, but especially in television, I always try to look at where the character is starting from and where he's going to end up, and try to find the biggest arc that makes it the most exciting to play.

I love doing a series because you get to see changes in a character and see her grow. It's a journey with change, and you don't get to see that long-term type of development with just a film.

We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.

As you do on any cable series, if they introduce you as the villain, then you better start working towards making him a really good guy, or if they introduce you as a really good guy, then you better start working towards being the villain. Your character has to go somewhere, or else they become very uninteresting.

Drama comes from characters changing. If characters stay the same and nothing changes, there's really nothing to look at.

I love seeing a story evolve over several books and watching characters develop.

Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.

Film is so much to do with perfection and how differently you can feel about someone at the beginning of the film and the end of the film.

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.

I'd never really been in a series, where you see a man at different points and perspectives in his life. Usually it's a film, where I'm playing a character who just comes in and offers something up.