Omari Hardwick Quotes

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.

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.

If you can make a character likable that's not very nice, that's the challenge of the job.

You don't want to make performances; you want to make people. When a project knows, 'Okay, my bad guys need to be a little sympathetic, and my good guys need to have a bit of a mean streak,' you're off to a good start.

For me, one of the most beautiful and rewarding aspects of serial reality TV is that characters can move freely along a spectrum of heroism and villainy.

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

At the core, I try to write characters who are real people with real insecurities, fears, hopes, and dreams, which is why hopefully readers can identify with them.

To me the interesting main character is never the one without flaws.

I don't think people are ever going to a place where they're like, 'I'm over stories about character and love.'

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

As long as your storytelling and emotional depth are intact, that's what people will focus on.

I think many villains have the burden of not being very human.

I'm an actor, and I want to play flawed characters, and I'm a writer that wants to write flawed characters, trying to let something out and hoping people relate through that or have fun experiencing the story.

I choose grey characters, as I enjoy playing a human character. I don't shy away from showing the shortcomings of my characters.

You have to be involved and relate to the characters in order to make a film that is true emotionally.

One of the things that separates a good genre movie from a bad genre movie, I always think, ironically, is when you care about the people. The dime a dozen ones are where you don't have any awareness of the character.

I tend to play characters that I can infuse with certain kinds of humour. Even the baddest guy can be funny in his own particular way. I want the audience to engage with the character on some deeper level so that they leave the cinema still thinking about him.

The characters are whole, real people to me that I'm getting to know, and since real people are all flawed, so are my characters, I hope.

I'd love to star in dark drama that audiences could really relate to.

If there is any secret to my success, I think it's that my characters are very real to me. I feel everything they feel, and therefore I think my readers care about them.

They've turned this character into a human being.

In the best stories, people are morally complex; they are flawed. We read them because the world is flawed, and we want to see it truthfully represented. And because it can be thrilling to be shocked and upset, and even to feel, for chilling moments, what it's like to be a bad person.

Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.

A friend of mine who is in the publishing business knew I was writing a book, and he said, 'Have you said anything yet about the good guy? Because I know you spend so much time with the bad guys.' Because they're fun. So then you have to make the good guy fun, in order to compete. That's the challenge.

I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.