Josephine Langford Quotes

As a writer, you have to realize that people want to like the characters, so you have to be careful to keep them involved.

You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.

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

I think, ultimately, if you create characters that people like and can relate to, your characters are grounded on a human level even if your cars are not.

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

I am a firm believer that a good plot makes for a fun enough read, but it's not what binds us. If we don't care about the characters, we won't care - not in a lasting way - about what's happening to them.

I've always felt, even with sketches, that if you don't care about these people, then it doesn't matter.

The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.

It can be a fictional character and yet relatable... It always depends on the content of the film and what you are doing.

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

All my characters have been relatable.

What makes an audience watch something and care about the characters is the emotional life of the characters.

If we get caught up in a story, it's because we've started to care about the characters, and that can only happen if we've moved beneath the surface.

I always try to make my characters people, and yet I always want to entertain.

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 like my characters to be ones I think about long after I've finished reading the script.

It always helps me connect with characters, to think about what music they respond to.

I have to have a character worth caring about. I tend not to start writing books about people I don't have a lot of sympathy for because I'm just going to be with them too long.

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

If you can relate to what the character's going through, the story can be as ridiculous as possible, and people will relate to it. You can be fearless in your storytelling if you're vigilant about protecting your characters.

I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.

I am good when there is something central about the character. There is always a human theme I attach myself to. I am really looking for something that is moving or enlightening or something with depth as an actor. I look for these kinds of roles.

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.

The bottom line always remains the same: What is the basic humanity of the character? How do I make them resonate with the reader?

My characters are always utterly sympathetic to me, if that makes any sense.