Adam Driver Quotes

I don't know whether it's audiences or filmmakers who want characters to be likable today, but I don't think actors are afraid of their characters being unlikable.

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

I think heroes who are not flawed are not believable.

I think flawed characters are important, because no one is perfect.

Comedy and drama are different sides of the same coin. And the thing about comedy and drama is about likability. It's about character first. It's about story. And for me, it's about empathy, and I think the realer someone is, the further you can go either way with them.

Specifically, we talked about making the character of the prince not so charming, at least in the beginning, and I'm playing around with the preconceptions attached to a character. That's really what intrigued me as well because I thought it would be fun to do it.

There was no difference between my characters and the life my readers were going to have to face.

I don't necessarily prefer playing villains. I know a lot of people say they are more fun, but if the scriptwriter has done their work well, you can find something realistic in a villain and find the mistakes in a hero - it's all down to the writing.

All of my characters are less than perfect.

And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.

My characters are not plastic.

I'm sorry, but to ask an audience these days to invest three hours in a show requires your heroine be an understandable and fully rounded character.

When I'm creating characters, I just want to create characters that I can relate to, and be as honest about them as people as I can be. That's what I want to see when I go to the movies.

If you can make a character likable that's not very nice, that's the challenge of the job.

When you're building a character, or at least when I'm building a character, you start saying, 'How am I going to make people like him?'

You don't want to play a perfect person; no one cares about that.

I feel like you can't get an audience to like your character if she's actually cool, but you can if she's trying to be cool and sometimes fails.

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

To me, the struggle is to try to make a less-well-written or less-well-rounded character and find who they are. If you really get it, and it's all on the page, then it's really just gonna pop out at you.

There is more meat and mileage in complex characters, like 'Running with Scissors.'

Fallible characters are more interesting than superheroes in the end.

I've never read a script in which you are actively pulling for the protagonist in the beginning, but little by little, you lose that.

I like the characters that have some redeeming quality or if it's interesting to me in any way.

The characters don't all have to be likable, and they don't all have to be hateable. As long as it's interesting and you connect to them and they resonate with you and you want to find out what happens and it feels authentic, then we have something.

For me as an audience member, it makes the characters more relatable and interesting if they're evolving and changing - it makes them feel more real in a way. But not every cartoon is trying to be real.