Liam Hemsworth Quotes

I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.

I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.

Plot and character are virtually the same thing.

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

I'm all about the story. If I like the character and I think the story's entertaining, I'll do it.

I feel like having details from their day and having a plot and action and things to do is much more revealing than having a character sitting and thinking to themselves. When I'm writing, I want people to actually have a goal, something that's dragging them forward.

I can never kind of fathom a character's journey beyond the moment when you go to black, any more than when people ask me what Jason Patric did with the tape recorder at the end of 'Narc,' you know what I mean? Even in 'Blood, Guts,' like, what happens down the road with these characters?

In the writers' room, when we talk about each episode, we first talk about the character journey of the episode.

I think action should be revealed through character, so if you have a plot problem, it's probably a character problem.

The story is always in service to the characters, and is only as long or short, or neat or ragged as it needs to be.

Characters are so important to a story that they actually decide where the story is going. When I write, I know my characters. I know how things are going to end, and I know some important incidents along the way.

Although a novel takes place in the larger world, there's always some drive in it that is entirely personal - even if you don't know it while you're doing it.

I definitely have character arcs in mind for each character unless I kill them.

My key interest in choosing scripts is character-driven stories, because there are so many stories that sacrifice character for plot.

In order for a narrative to work, the primary character should have a concrete desire - a need that drives her story - and the story's writer should make this goal known to the reader pretty early in the narrative.

I'm a firm believer in stories with arcs and beginnings and endings and all that. 'Scott Pilgrim' is sort of one long novel, and it's so long that I get confused and sort of tread water sometimes. But there's definitely a goal to it. People who just dismiss it as shallow, that's their prerogative, but it's not really my intent.

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

I love storytelling. I love characters that are complicated and layered, real people, that you see why they do what they do.

I do think you need to understand a character's motivation and perspective.

Whenever you're blessed and given a second season, you can really let the characters evolve. That first season, you're setting everything up. It's background, where they're coming from, what they want to do. And then you get to marinate in it that second season.

There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.

The storyline has always been of paramount importance to me. The subject and climax of 'Phillauri' touched my heart.

Lucifer likes to have fun, but we need to make sure that he's also rooted in a proper journey. For the first few episodes after a pilot, you're just trying to establish your world and the starting points for your characters. But I feel like, as the stakes went up, the 'Lucifer' veneer got less and less.

For me, it's about the impact that the role has in the film overall. Less or more screen time, whether I get to romance the hero, is not the yardstick I go by. If my part is strong enough, then why not?

When it comes to a character, I make sure that it adds to the plot.