Marc Platt Quotes

My first duty to write a gripping yarn. Second is to convey credible characters who make you feel what they feel. Only third comes the idea.

I think when see you a character on the screen who is actually being touched by the world, and the stuff is actually landing on him, it makes you empathize.

I go to great lengths to make certain situations feel right to the reader.

I didn't expect to feel pathos for the villains in our show. I feel quite moved in several of our episodes; I never realized that a show like 'Motive,' which aims for a broad appeal, could have that sort of emotional impact.

I love songs that tell stories. They make you feel something, something real.

I think that's something that people feel that I do really well; I don't mind it, because ultimately I think the characters I play move people, and who wouldn't want to move people?

I think every time I can find a story that touches that human nerve, and even sometimes makes you cry, I think that I've found something that I'll like very much.

I always like to think of music as if you were to turn the picture off, actually. Just by listening to the piece of music, there's a story there and a connection to the characters and the plots and all of that.

I always just get excited about the character. When something rings true for me, then I'm ready to do it.

If a character dies, you should feel that. If a character accomplishes something, you should feel that. That's where you try to find that balance. It's impossible to articulate, as you go through it. You just have to recognize it.

Until a character becomes a personality it cannot be believed.

All you can do is show people...You tell stories that are true and compelling.

When somebody is talking to you about something terrible on set with lines, and you believe what he says, sometimes it gives a strange vibe, because you wonder when that person is talking if he's talking about something that really happened to him and he's using the character.

One particular night I was at the theater. I was not scouting for a project, but I was touched by this play by Évelyne de la Chenelière. I was touched by the character. I thought it was a rich character that could be rich enough for a movie.

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.

When you find theater writing like in the theater on film but it's realistic, it doesn't matter who the character is, you want to do it.

There are all kinds of ways that people present their films, but that's kind of a good feeling, if you can make it seem like the characters are really there.

A fantasy film is often improved by some kind of human reality.

I can't speak for readers in general, but personally I like to read stories behind which there is some truth, something real and above all, something emotional. I don't like to read essays on literature; I don't like to read critical or rational or impersonal or cold disquisitions on subjects.

A novel that features real people is complicated, but in the end, that extra challenge is all for the good.

When I saw 'Talk to Her' for the first time, I was crying out loud because I couldn't imagine that I was doing that film.

My job playing Sam Malone was to let the audience in, to love my bar full of people. And that informed my life.

Human beings love stories because they safely show us beginnings, middles and ends.

When you watch a movie, you don't want to feel like a machine made it. You want to feel a soul.

The idea behind a dish - the delight and the surprise - makes a difference. Great literature surprises and delights, and provokes us. It isn't just 'Here's the facts - boy meets girl, boy loses girl, boy gets girl.' It's how you tell it.