Varun Sharma Quotes

I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.

If the character is really well-rounded, and it's a really strong character, and if the writing is just fantastic, that's the thing that will hook me in, certainly.

If you don't have people that the reader cares about and stories that are gripping, you've got nothing.

I like it when actors get an opportunity to chew into something. They love scenes with beginnings, middles, and ends - scenes that give an arc to their characters and allow audiences to get to know these people.

Scene study is isolated. I suppose it's interesting, but I don't think it really teaches you about a throughline. A throughline is something you feel when you do one scene followed by another followed by another.

All topics, issues, and subjects in 'The Room' add to the depth of the characters in the movie, and they are equally important.

Strong characters are needed in the game.

I see a lot of scripts, and very few of them leap off the page at you.

The first rule is you have to create a reality that makes the reader want to come back and see what happens next. The way I tried to do it, I'd create characters that the reader could instantly recognize, and hopefully bond with, and put them through situations that keep the reader on the edge of their seat.

When you have quick scenes, it becomes difficult to ascertain where your character fits and where they're going. I always enjoy scenes that have a movement to them.

In general, I don't really think too much about pacing, myself. You kind of look at each script and what each script demands.

Each character, be it the antagonist or the protagonist, brings with himself his own personality... and I have tried to stay true to each one of them; each is enjoyable in their own way!

I try to create characters people want to sit with, even if nothing is happening.

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

There are certain things that I know I don't want to do anymore. Playing out-and-out terrorists who terrorise people and don't actually move the conversation on are not worth doing. So that's probably another reason I don't go back to America, because a lot of it is like that. It's boring, dull, very lazy writing.

I don't want to be part of movies where I just sing and dance and go away.

I am sure that I don't want to take up stupid roles. And by stupid, I refer to those which doesn't have any sense. A role should have some life in it, right?

A good content always allows me to reach the depth of the characters, and thus, the performance looks more relatable and truthful.

In 'Poster Boys,' every character is well defined.

The film industry is mostly about unidimensional characters.

Detailing and backstories are so important; only they draw you into the life of a character.

I want to give my characters nuance.

I'm drawn to interesting female characters and good storylines.

I've done a lot of ad films where an idea can be translated in 30 or 40 seconds. But in a movie, an idea needs to be stretched for two hours, and requires you to draw a bit from your experiences in life.

As a writer, you understand how hard it is to build up backstory for characters, so you can have impactful moments. You have to build toward something and then pay it off.