Cody Fern Quotes

The interesting part of the process is developing the character, you know, why did he become that? Why is the guy a murderer, or why is this guy a pervert, or whatever he is. So that's the fun part for me to delve into the abyss.

I love gritty drama. I'm passionate about films and drama that make you think - hard-hitting, gravelly characters.

'The Oath' seems like the perfect project for me, coming off the back of a big-scale adventure film like 'Everest.' I want to delve into an intimate, dark and psychological world where the characters are claustrophobic.

In 'Garden Party' or '40 Days and 40 Nights,' I played characters who people don't necessarily like; I just find some humanity in them.

Sometimes people are like, 'Do you want to play strong women?' I don't have to play strong women in order to feel like a strong woman myself, but I do feel it's important to play characters that are complex and interesting and believable.

I think in Vice and American Me I played very silent, rigid characters and people remember them.

I'd like to make character-based dramas. I end up writing thrillers a lot - these psychological character-based things with weird people doing horrible things to each other - coming to a theatre near you!

I always get cast as the girl who's dying or the girl who's killing or the girl who's suicidal - all these heavy roles. But I like playing them.

The woman I'd want to meet the most is Nicole Holofcener. I've loved every single film she's done. I think her films are deeply comedic while being deeply disturbing and dark.

Man, 'Hill Street Blues' was on when I was 12, and I remember feeling I'd never seen anything like it. It was that far ahead of its time, with dark characters you loved.

There's a recent film, the Swedish movie 'Force Majeure.' I just thought it was brilliant.

When I read 'Meadowland,' I could see the potential for a very internal, quiet story that could be powerful and emotional but also disturbing and dark.

My favorite movies are movies from the '70s, like 'Midnight Cowboy' and 'Dog Day Afternoon' and 'One Flew Over the Cuckoo's Nest,' and to me, 'Hereditary' seemed like it fit in with those movies, and it was just horrifying. It seemed like it took the things that I love about movies and really fleshed out characters.

It's really interesting to play someone you wouldn't want to ever spend more than a couple of drinks with - but who has redeemable characteristics.

'Pumped Up Kicks' is written from the perspective like Truman Capote wrote 'In Cold Blood' or Dostoevsky wrote 'Crime & Punishment.' It's psychologically breaking down someone's state of mind and diving in and walking in their shoes.

I love playing roles where it's not just the good guy or the bad guy.

The beauty of Sudhir's protagonists is that they are not shown as black and white. There are various layers to the characters.

I really want to work on characters that have a lot of complexity and you don't always get that in comic book movies because they're not character explorations. I have nothing against movies like that, but I do see them as kind of like a cheeseburger.

'The Twilight Zone' was sometimes shockingly cruel, far crueller than most TV drama today would dare to be.

When people are like, ''UnREAL' is so dark,' I'm like, 'Hahahahahahahahahaha! Wait 'til you get to 'Sharp Objects.''

I don't know if it's a sadistic side or whatever, but you take characters and put them in really awful situations and make them go through that. And it's very satisfying as a director to explore that, to tell those stories and to explore those themes, because it is so human.

Exploring the dark side of my characters' personality is my forte.

For me, especially with the villain, it's not very interesting to write a guy who is just 100% bad.

I play characters that allow me to do lot more than just be a glamorous heroine.

'The Expats' is a thriller, but one that tends more toward general fiction than toward breathless pulp.