Kartik Aaryan Quotes

I'm focused on finding characters I connect to.

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

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

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

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.

One of the things that happens when you write characters - and maybe this is my own sentimentality - is that I always find I have an instinct to protect them.

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.

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.

Plot and character are virtually the same thing.

I suppose it's possible that a writer would have feeling for his characters, but I can't see how, because writing is such a meticulous, intricate, technical business. I wish I could say that I love my characters and that frequently they take over the book and run away with the plot and so on. But they don't exist.

There's no rule that we have to like the characters movies are about.

I usually don't find myself reacting to my characters. I just create them ... And let the audience decide whether they're empathetic or scared or compelled to cheer me on.

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.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

If I don't fall in love with my characters, I cannot shoot.

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.

Once you get into a feature, whether it's a sequel or an original one, you have to start all over again, and you're creating a world, creating new characters. You're also tracking emotions. You're trying to create emotion and create a character that you can fall in love with for two hours.

When you're building a character, or at least when I'm building a character, you start saying, 'How am I going to make people like him?'

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

As an actor, you don't really have a say or a voice in what the conversation of the show is going to be. So, as an actor, I'm just trying to make sense of why the character is making these choices, and somehow, in that way, you can sympathize or root, at least not detest, what this person is doing. That's, at least, my job in telling that story.

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.

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

Whether it is television or film, the character on the page has to speak to me.