The Miz Quotes

You have to create characters - certainly in series TV - who people engage with. They don't have to be nice; you don't have to agree with them. But they do have to be compulsively watchable and believable and human, and you want to know what happens to them.

A lot of times I'll make films that are mostly character-driven films - stories that involve people. Like, I make the joke: I like to make movies about human beings that live on Earth.

The scene is never really about moving the story forward on 'Breaking Bad.' That's the functional veneer of the scene, but it's always about what's going on with the characters.

I play a character in the WWE and everybody hates my character. I'm the evil villain bad guy. Whenever people meet me, they're like, 'Wow, you're such a nice guy. We never expected that.'

As a heel, you get to make twists and turns that really sell that character so that you can get that genuine kind of heat from people that want to hate you.

Every character comes with its own challenges.

People think our business is this completely fictional world of big guys in tight clothes with no brains. That's not the way it is; this is a psychology-driven business. You have to take people on an emotional ride without using words.

I like my characters to be ones I think about long after I've finished reading the script.

I think all television has to be about relationships and I don't think horror for the sake of it can work unless you're able to ground it in some kind of relationship.

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.

I'm interested in telling the character's story, not my beliefs, political or otherwise.

The first thing I read was of my character on the phone talking to Sydney's fiance. Though short, it was so beautifully written, and it made me laugh. I thought if I wanted to play a character, this would be it.

You've got to leave the reader with more than just a name and a costume - they need to know who the character is, what they're like, what kind of attitude they have, what sort of role they play.

You treat characters like people you meet in life-friends or mentors.

It's people politics, people dynamics that make a show really good, whether it's 'Desperate Housewives' or 'Lost' or 'The Sopranos.' It's the people we've grown to love or otherwise.

If the characters are acting true to themselves, then that chemistry and suspense will flow.

If you can't laugh at your own characters, or shed a tear for them, or even get angry at one of them, no one else will either.

If I'm doing my job as an actor, the audience knows everything I know about the character.

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

I tend to come up with people more than situations - most of my books start with a character.

Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.

You know, the point of a novel - or to me, the point of a novel, the gift of a novel is to go really deeply inside people's lives and inside their personal experiences.

But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.

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

Any author of fiction will tell you that characters don't need to be told what to do.