Hunter Tylo Quotes

I love the trilogy form. I like the idea that you can establish a character in book one. And then in the second part, you can take the characters down to their darkest point. And then in the third part, you have total freedom either to give them redemption - or just to kill them.

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

I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.

I think it's always good not to listen to what the rules are supposed to be about the arc of the character and the third acts and all this stuff.

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

I think I can speak with a degree of authority... today, the biggest driving force of movies is pace; God help you if you try to put in a scene that is about character and not plot.

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

I'd never really been in a series, where you see a man at different points and perspectives in his life. Usually it's a film, where I'm playing a character who just comes in and offers something up.

The writer of stories or of novels settles on men and imitates them; he exhausts the possibilities of his characters.

I think one of the successes of Gladiator is how we manage to turn on a dime the character from one thing to another where you believe he is one thing and he is something very different.

Unlike novels with a hero or two heroines, in 'One Amazing Thing,' all the characters tell stories they've never told anyone before, so all the voices become equally important.

Writing a novel is actually searching for victims. As I write I keep looking for casualties. The stories uncover the casualties.

My books usually end where they began. I try to bring characters back to a point that is familiar but different because of the growth that they have gone through.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

In many respects I have gone out of my way to avoid the usual approach adopted in crime novels. I have used some techniques that are normally outlawed - the presentation of Mikael Blomkvist, for instance, is based exclusively on the personal case study made by Lisbeth Salander.

I can inhabit any character in a way that is difficult to do successfully in a contemporary novel.

I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.

Acting gives you cosmic permission to take a trip in movies that lasts 24 hours a day, seven days a week, until the film is finished.

The stories that I like to tell and the movies I like are always grounded in the emotional arc of the characters.

I think often times on Joss Whedon's shows he can make you hate a character for a period and then love the character. He does it effortlessly.

What's great about 'Game of Thrones' is they change the perspective, the POV, all the time. So you will have one story told by one character and you'll go, 'Oh my God, horrible', and then maybe the season after you have the same story told but from the person you thought was just the most horrible, vile creature.

We give you characters we'd feel very comfortable judging, and then go: 'Oh yeah? Watch this'.

To portray an iconic character has been brilliant in itself, and to be able to do that on a show like 'Once Upon a Time' enhances that because the show puts a spin on characters and makes them very different and puts core values that are very different that aren't in the original fairy tales a lot of people relate to.

The Greeks already understood that there was more interest in portraying an unusual character than a usual character - that is the purpose of films and theatre.

In the process of developing a character, you do, in fact, start to take him on as a personality.