Pankaj Tripathi Quotes

What's the difference between Hollywood characters and my characters? Mine are real.

I think the best way to sell a made-up character is to plant his feet into the real earth.

What if you could radically alter the way stories get told? What if the way people wanted to consume content actually changed what you could make?

The characters are whole, real people to me that I'm getting to know, and since real people are all flawed, so are my characters, I hope.

I just want to tell a good story, so I always ask myself, 'Are these people real to me?'

Every reader knows about the feeling that characters in books seem more real than real people.

I don't worry about whether a character is likable, as long as the character is believable.

I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.

Normally you read a screenplay - and I read a lot of them - and the characters don't feel like people. They feel like plot devices or cliches or stereotypes.

You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.

You can't make the audience fall in love with a character you don't like.

The challenge is to stay true to the characters while also having them be entertaining every day, because it turns out that just watching someone be true to themselves isn't that rad to watch.

When the characters are believable and endearing, action scenes, for example, make an impact. Otherwise, the audience gets no kick out of action. The biggest strength of 'MCA' is that its characters are real.

A good content always allows me to reach the depth of the characters, and thus, the performance looks more relatable and truthful.

With Erin [from Paper Girls], I wanted to show what she might look like when she's 40, and I wanted it to feel authentic. In terms of inspiration I ended up using my wife for a lot of it. Just to kind of to give me almost an anchor so that I would be invested in making this character real.

Get too conceptual, too cute and remote, and your characters die on the page.

You try to make characters you care about, and I think realism helps. Even though this is a high concept, the characters have got to be real.

When we approached the project, the very first thing we did was take each character and say, "Okay, where would this character be?" We didn't want them to be caricatures of themselves. We wanted them to live and breathe, and grow with the audience and with us.

If people don't connect to Eric Carter's struggles, I'm sure they'll find a character in this series to connect to. That's ultimately what it's about for me.

My goal is, no matter what genre or story, I'll find a personal angle. It doesn't have to be autobiographical, or specifically Asian-American. It has to explore a burning question that I have.

Whether it was 'Gangs Of Wasseypur' or whether it's 'LSTCK,' the characters are real, and when you see them on screen, you can identify with them.

The goals of literature are multifold, but creating nice, positive protagonists that you'd want to grab drinks with or invite home to mom can hardly be considered one of them.

At the end of the day, whatever you're doing in the ring, you want it to look real, and genuine, and authentic.

If the human story in 'STM' is relatable, it will work.

All my characters have been relatable.