Corey Hawkins Quotes

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

You have to present characters an audience can relate to.

People relate to my characters and see me in a different way. They identify with me and remember the nuances of my characters.

Television is about identifying with the characters.

I think the key is to give the reader characters they not only care about, but identify with, and to never take away all hope.

Sympathetic characters usually have a voice. They usually don't have any trouble being heard.

We all do that thing which is the best in movies - we relate.

And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.

In my acting, I have tried to do this - to present to audiences a living creature in whom they can recognise themselves or someone they know.

In the end, drama is successful if you care about the people.

To connect with the characters, you need to connect with the world. If the world feels vaguely familiar, I believe the characters will feel relatable.

In terms of the parallels, I've never related less to a character than Riggan.

I think there has to be an empathic strike between the reader and the protagonist. There has to be something said or known that connects the reader to this person you're going to ride through the story with.

You need to be able to climb into a narrative and zip it up under your chin. You need to be able to see through the eyes of the hero, smell what he's smelling, hear what he's hearing.

If you are writing a story and trying to draw an audience to come and hear you tell it, it's got to in some way relate to them. Who wants to come and hear about your specific problems? It's not therapy - it's supposed to be a communal piece of entertainment.

The story is a machine for empathy. In contrast to logic or reason, a story is about emotion that gets staged over a sequence of dramatic moments, so you empathize with the characters without really thinking about it too much. It is a really powerful tool for imagining yourself in other people's situations.

The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.

I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.

Feelings are universal, and if an actor's doing his job, I think he's making people sit there, and if it's in a movie or a theatre, going 'Hmm, yeah, I know that... I know that.'

Part of the success of the show is that the audience sees themselves in the characters, becomes the characters. The more they inhabit the characters, the more they see.

When I approach any script, I always try to find what I would relate to most in it.

If you can't laugh at your own characters, or shed a tear for them, or even get angry at one of them, no one else will either.

I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.

Readers embrace all kinds of characters as long as they are written with emotional truth.

As an actor, that's the best thing you can do, really take people along on a story and tell them something.