Taron Egerton Quotes

The goal, I suppose, any fiction writer has, no matter what your subject, is to hit the human heart and the tear ducts and the nape of the neck and to make a person feel something about the characters are going through and to experience the moral paradoxes and struggles of being human.

I like films to be pure cinema, but I also like them to provide a snapshot of a family, a society or a character - something that can nourish you as a human being as well as an actor.

I'm very drawn to the human condition and the emotional aspects of stories. It's what's not on the page that I get excited about.

My favorite stories are human, so I'm always looking for...

With BSG, sci-fi is the human experience taken beyond the envelope. When I first became involved with the project, I knew that I would be able to play a human being for many years, exploring and reflecting on issues that would impact people's lives.

I try to stay away from stuff that's just action, action, action, action, action, and you kind of fast-forward through the dialogue scenes. I'm not interested in doing that. Give me a reason to fight, and I'll go there. But don't just make it, 'You touched my pen! Haaa-yah!' I've done that before.

I love thinking of cartoon characters feeling really real feelings. And I love to do that, not just as a fan, but as a creator, so if people want to look for those levels, they're actually there.

The basic quality that any great story must have is a story that illustrates the human condition.

As a viewer, I care about people, I care about characters, I care about perspective.

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

You'd be surprised how hard it is getting the human emotional arc in a script to work. Ultimately a director stands and falls by their ability to do that.

The worldview implied by literary fiction is complex and ambiguous, trying to be faithful to the complexity and ambiguity of life.

When you've got good writing, you can kind of give up all the research, in a way, and start just following the emotional integrity of the journey of your character.

Fiction's about what it is to be a human being.

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.

My horizon on humanity is enlarged by reading the writers of poems, seeing a painting, listening to some music, some opera, which has nothing at all to do with a volatile human condition or struggle or whatever. It enriches me as a human being.

The movies I like to make are very rich and full of passion. Some people see me as an action director, but action is not the only thing in my movies. I always like to show human nature - something deep inside the heart.

When I watch a movie, someone's beauty isn't what engages me: it's what's going on internally. And I imagine it's what the audience thinks, too.

I think really good drama comes down to real human emotion. That's what makes us all tick, and that's what I've always been drawn to when it comes to scripts is real human emotion and dealing with that.

A new character is like bringing a new human being into your life.

I don't think the challenge is asking an audience to like a character; it's inviting them to try and understand them... then making that journey entertaining and worth their while. It's a classic trick, but it's human, and it allows characters to have more depth.

I like the movies that embrace the complexity of the human condition.

I really care more about the human drama than I do the thriller stuff.

A good movie humanizes people.

As a writer, I have to show complexities. Through my writings, I hope to bring out people in different situations and not just one-dimensional beings.