Michael Haneke Quotes

I'm disappointed by well-written novels that only deal with two or three people.

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

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

Overpopulated fiction can be so confusing that readers put the story down. Under-populated novels can seem claustrophobic or boring. You want the right number of characters for your particular work.

Third person allows a deeper exploration of the relationships between characters. We can see their misunderstandings and hear what they think about each other. We can create a more complex structure with various story threads running parallel.

You just drop a character like this that and the other and it's done.

I am so used to seeing the sort of play which deals with one man and two women. They do not leave me with the feeling I have made a full theatrical meal they do not give me the experience of the multiplicity of life.

I tend to write the episodes in the middle of the season, which can be a challenge because you've got to balance all these threads that have begun - and also make sure they will make sense with the overall plan going forward.

I realized there's a difference between creating a character and sustaining a character. The challenge that comes with sustaining a character is that you have this sudden impulse to think about all the things the audience liked.

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.

In the overall scheme of things, Tommy Dreamer and The Franchise are opposite characters.

When I write a team book, it's all about how they relate to each other and what they bring to the team and the book. Whether it's Black Canary and Huntress or Bane and Scandal, I look for a relationship that people can believe in, that they want to follow and learn more about.

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.

It's much harder to write a script that involves two people in a single location than 20 people in 30 different locations.

'Deathstroke' became an interesting challenge - not just because of his ethnicity, but because he's a villain. I've never written a villain as a protagonist of a series before. I thought this could be an interesting challenge. That's really what got my attention, and it just went from there.

It gives me a chance to explore so many dynamics - that's what we actors dream of doing. So, I love playing the villain.

No role is big or small; every character does its magic and brings its own connect with the audience.

I try to construct each of my novels around one central theme - core tensions shared by the characters.

Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.

For a long time now, movie characters have generally been articulate, even chatty. Call it the influence of Woody Allen, but we have become used to characters who are well able to explain themselves to others.

I feel like a lot of characters on TV don't have the time to tell that many aspects of a character's story and personality.

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

The identity of Studio Ghibli movies are how the characters move. They move like live, real people.

I like stories, and I really like words. So I like stories that rely on dialogue.

Dialogue is one of the easiest ways to get character conflict across immediately in comics.