Rich Moore Quotes

I'm interested in telling the character's story, not my beliefs, political or otherwise.

Every single film I've done, it's about the character.

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.

It's nice to create a character, not just within two scenes, but within the journey of a whole movie. It's fun to do that.

In a series, you really need to stay open-minded. It's not like a play or a film, where you can create and fully commit to your character's back-story.

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.

The fun thing about doing origin stories is you are introducing the audience to characters.

I locate that special problem in a character and then try to understand it. That's the genesis of all my work.

I'm drawn particularly to stories that evolve out of the character of the protagonist.

The main characters for 'The Seer and the Sword' made an appearance one night and then haunted me for over five years before I began to write them down. Does that count as inspiration? For me, characters tend to show up, stay on to help with the work of writing their stories, and then occasionally deign to visit after a book is finished.

In the old days, I just could not leave characters alone. Now I just try to keep the ones that still have something in the way of stories to tell.

After a while, the character sort of took over.

In the writers' room, when we talk about each episode, we first talk about the character journey of the episode.

I tend to come up with people more than situations - most of my books start with a character.

The most I could hope for is to come and try and develop a character who is interesting, who is interesting to me, who is interesting to fans and who could contribute to the storytelling that is 'Law & Order: SVU.'

'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 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.

Sometimes I know what my characters are moving away from or toward; more often I just wait and see. For instance, though I knew Sinkler in 'The Trusty' was going for water, I did not know that he would meet a fetching young farm wife until I got him into her front yard.

When you get into a film, it is one story and one set development of a character, and you are able to delve into one character for a short period of time and discover everything about them.

Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.

I don't use recurring characters. I do get very interested in my characters while I'm working with them, and I find the process of fitting them into a story, and allowing them to create the story around themselves, fascinating. But no, I don't imagine they have a life outside of what I make for them.

Filmmaking is always sort of building a mosaic of this arc of what the character is going through.

My characters surprise me constantly. My characters are like my friends - I can give them advice, but they don't have to take it. If your characters are real, then they surprise you, just like real people.

To me, it all comes down to things being character-driven. It's hard for me to look beyond that. CG and all this cool stuff - so be it. But to me, it pretty much begins and ends with character-driven plots rather than technologically-driven plots.

I really fall in love with my characters, even the bad ones. I love getting together with them. They tell me what to do; they take me on a wild and wonderful trip.