Alex Kurtzman Quotes

I try to give both my heroes and villains an emotional dimensionality which provides the motivation for their actions.

Character and emotionality don't always have to be relegated to quieter, more simple constructs.

I think any character has to be well-rounded, whether they are male or female - they have to be complex and make choices that maybe we don't agree with, you know? I guess that's what makes them human.

With all the main characters that I write, it's always very important to me that they have good and bad aspects of their personality. It's important to me that they're complicated and that they're human.

The story line was done in a way that's organic and was doled out very slowly in little bites. We think that's authentic for this character, that her feelings are very deeply buried or she never felt them.

I prefer playing characters that are going through turmoil. Most movie characters are just in service to the story.

You're trying to bring an emotional and psychological reality to a character that's on the page and make them three-dimensional.

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.

Movies can provide tear-inducing or comically-entertaining representations of love, but many agree that its deeper conflicting complexities often seem unfathomable.

I think a lot of people relate to some of my characters' inner struggles.

I like stories where there's a center that's mushy and complicated.

To me, any character that is conflicted inside as well as outside of themselves is always a better role to play.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

The complexity of the emotional life of the play is what you live to work on.

I'm interested in writing that explores all sides of human beings.

The impetus for 'The Sisters Brothers' was it occurred to me that there was no neurosis in westerns, or there's a minimal amount of it.

An actor knows much more about a character than the character knows about himself.

For me, I start at the place that my characters are human. I start at the place that they are onions that are layered and meant to be peeled, just as we as human beings are.

In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.

As I've grown as a creator, I feel that I want to tread in deeper waters and have a lot more going on emotionally with the characters. That's my appreciation for comics as a creator and a consumer as well. I'm more into stories that don't just bounce off the surface but go a little bit deeper.

For 'Drive,' we needed the songs to dictate emotions and really bring you into the mind of The Driver; he's a unique and complicated guy, so the music itself had to be unique and complicated.

Hard-hitting films are remembered for a long time.

I like the idea of a record being more than one thing emotionally - human beings go through so many emotions in one day - and I like those things sitting next to each other.

I love Nicole Holofcener's films for their constant duality of humor and emotion and their focus on very real, if flawed, dynamics between funny people.

I like to write about characters who are conflicted.