Shweta Tripathi Quotes

I put heavy emphasis on the characters.

There's nothing interesting about seeing our characters for an hour and a half do some flashy flying in the sky and beating up on some buildings. It's boring, and people don't want that anymore. They want character, and they want story.

I look for absurdly simple plots so that I can simply focus on the characters. Having an understanding of what dialogue's easy to say and hard to say - I think that that's helpful, too.

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

For me, the dialogue is the easiest part of writing. It just always seems so obvious what a character will say. Maybe it's because I talk too much!

Once you've established where you are, you go to the character and elaborate on expressions and action.

The instant that movies became described as character driven was the instant when characters stopped mattering in movies. In other words, the birth of the notion of the character-driven movie coincided with the birth of movies in which characters were incidental to the very activities in which they engaged.

I think it's important that a director be able to know his characters inside and out.

I like character-driven stuff. It doesn't matter, the size of the part.

The action stuff is only good if you get the character stuff in there as well. Sometimes that get lost in amongst all the trying to make stuff blow up.

The characters are always the focal point of a book for me, whether I'm writing or reading. I may enjoy a book that has an intriguing mystery or a good plot, but to become one of my real favorites, it has to have great characters.

For me, screenwriting is all about setting characters in motion and as a writer just chasing them. They should tell you what they'll do in any scene you put them in.

'Longmire' is more of a show about the characters, and you couldn't pay a bigger compliment than to want to know more about my character, or the characters on the show.

The script is a blueprint for the film - there are very few bad scripts that make good movies. If you really like the character and understand the utility it serves within the movie, that's a part of my process.

I think, in a weird way, the reason I was drawn to screenwriting and the reason I really love doing it is because I love writing dialogue.

I tend to write one character at a time. But I don't write the entirety of one character at a time.

I just like a good story. I want the story to be good and I want the character to be different than the last one I played. That's not always possible, but that's what I want.

I'm always writing about character first. Plot, such as it is, comes from the characters.

Any character that can't be kept straight, to me, isn't a character who should be in the book - you know, anyone not vivid enough to have a claim on my attention.

I think I try to look at all my films and break them down because, at the end of the day, it's about creating characters that you like.

I love actors, and I love projects that give them space and room, and I aim for these projects where the characters are that important.

Stories are important, but I'm really into characters, and if you can give birth to a good one, that's true success.

I don't even mind playing a bimbo or a silly girl, as long as it isn't stereotyped and there's a reason for that character to be part of the story.

Producing is figuring out how to make each character have a distinct voice, how to make the story twist and turn - that's the biggest challenge.

For me, it's about the impact that the role has in the film overall. Less or more screen time, whether I get to romance the hero, is not the yardstick I go by. If my part is strong enough, then why not?