Vivek Oberoi Quotes

The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.

Quite often my narrator or protagonist may be a man, but I'm not sure he's the more interesting character, or if the more complex character isn't the woman.

Unlike novels with a hero or two heroines, in 'One Amazing Thing,' all the characters tell stories they've never told anyone before, so all the voices become equally important.

It's my job as a supporting actor - which I usually am - to support the film: to make 1, 2, or 3 on the call sheet look good.

Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.

You have to create characters - certainly in series TV - who people engage with. They don't have to be nice; you don't have to agree with them. But they do have to be compulsively watchable and believable and human, and you want to know what happens to them.

I like dialogue in novels. I wanted to avoid laying history on with a trowel - appearing to be lecturing, as opposed to the characters lecturing their children or students. Dialogue can humanise the story and make it go down somewhat more smoothly.

A lot of times I'll make films that are mostly character-driven films - stories that involve people. Like, I make the joke: I like to make movies about human beings that live on Earth.

The thing I respond to the most is just great writing, interesting characters. I like to think that there is something fun about playing a character that has a lot of authority in her own life.

My favorite roles usually have to do with the story, if it's a good story I usually enjoy doing the character.

The interesting thing about my character Sylar is that my strengths as an actor seemed to go completely against the shape of a character in the shadow.

Even when I'm reading a script where I'm supposed to be looking at the lead role, I'll find myself gravitating toward some small weirdo in a few scenes instead. I'm very instinctive like that and I love the challenge of not having a lot of time to create someone who feels real.

The idea of having different characters is really just to get the storyline across, you know? Coming from one particular character makes, to me, the story boring. I get that mainly from novels and that style of writing or movies where there's multiple characters who carry the storyline.

We weave our real lives into our WWE lives. We just look at what's happening in our lives, and what can we do? What's the most annoying - as a bad guy, as a villain, what's the thing we can do to make people hate us?

In 'The Grandmaster,' I had a supporting role, but my character in 'The Crossing' is much more central to the plot.

Every character comes with its own challenges.

Whenever I write, I write very dialogue-heavy things because I love to force my characters to interact with one another.

I think every character is important in every film - be it small, primary, or lead - because they are adding something to the story, taking it forward.

I have always believed that if a film has only two characters, but they do not make any sense, then the film's meaningless.

In a novel, it's hard to keep track of everybody.

I don't know quite how a story develops in my head. It is a bit chaotic. If I am working on a series, one of the main characters at least is already in existence as well as some setting and minor characters. Finding the other main character can be a challenge. Sometimes this character already exists in a minor role in another book.

As an actor, I like as much time with the material as possible and given the opportunity, time spent with the other actors in the scene. But that is a rare luxury in working in any TV series.

I have always argued, in a good novel, interesting things happen to interesting people.

The world is full of novels in which characters simply say and do. There are certainly legitimate genres in which this is sufficient. But in real and lasting writing the character is.

I think all television has to be about relationships and I don't think horror for the sake of it can work unless you're able to ground it in some kind of relationship.