Chris Claremont Quotes

I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.

Good stories must travel through conflict. And in epic stories, the conflict must become unbearable.

I like people to be surprised by the turn of events. I don't want things just to be pat and formulaic. If there's some sort of internal combustion in the character or a desire to change the way things are going, that makes for conflict, which is the essence of drama.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

Big stories need human stakes.

I think television is about the characters you want to see again, and so you want to invite these people into your home. And certainly, seeing them get into bad situations and then watching them have to get themselves out, that's always super satisfying.

The way that I work as an actress, I always prefer to read the whole story and tell the whole story and feel what the whole story's going to be, the journey for the audience and how it ebbs and flows, the highs and the lows.

Conflict is the place where character and plot intersect.

Fans want to see a story with characters, and they want to see a story.

Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.

The opera tells the story with all the built-in contradictions and from many different angles.

In particular, I'm drawn to the stories that have big, high concepts and real characters at their heart. And I love where those two worlds meet, and 'Edge of Tomorrow' is the perfect canvas to explore that.

What I do is put my characters into situations that are so precarious there is no way to get out. And then I figure how to get them out.

What can I say: I'm a writer - I enjoy forcing pain and suffering on my characters!

As a viewer, I care about people, I care about characters, I care about perspective.

Real life is messy, and drama is a shaped version of real life.

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.

As an actor, I think a mistake that any storyteller can make is to play the ending.

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.

In making films, I'm constantly looking for people who are in conflict and who are going to surprise you and challenge you.

All good, clean stories are melodrama; it's just the set of devices that determines how you show or hide it.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

'Cause movies are human drama, that's it.

I think that internal conflict works very well, because, after all, all the best drama is fuelled by conflict.

One of the challenges is creating characters. I am trying to compose my sentences to express epic events happening to ordinary people.