Jeremy Podeswa 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.

In film and theater, you know the story and the journey from beginning to end, but with TV, you can keep peeling away layers and exploring a new world each week.

If I watch something, I want to be wondering what is going to happen next; I want to be engaged in a way that makes me ask questions and think about how I can relate myself to the characters and the issues that are there. But if it's just fluff, and everything is spelt out, I find it difficult to concentrate.

I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.

I love it when you like a character, and then she does something you don't like, and you hate her for a while - then you love her again. I'd like to see her have unlikable moments that the audience understands and sympathizes with.

I believe what makes great television is wanting to watch particular characters.

I, as a fan of numerous TV shows and movies, know that people mess up. The characters that we love are not always going to act in the ways that we want them to. That's what makes them interesting.

You've either got to find a way to make your continuing characters insteresting without making them maudlin or overwrought, or you've got to put more emphasis on the suspects.

What I find frustrating about scripted television is that it's rare that you are surprised by how you feel about the character, or how you feel about the show.

The roles on 'American Horror Story' are so complicated.

With a film, you just don't have time to build sympathy for the character. But I think we're moving away from that in TV. With TV, you have a little more leeway to allow them to rise and fall and rise again and be much more complicated beings.

We figured the audience would want good stories, great art, wonderful characters, people you could fall in love with that we would immediately put through hell.

What was important for 'Legacies' to actually be a successful show is that we had to introduce new mythology.

The first rule is you have to create a reality that makes the reader want to come back and see what happens next. The way I tried to do it, I'd create characters that the reader could instantly recognize, and hopefully bond with, and put them through situations that keep the reader on the edge of their seat.

Once the world has been created, the fantasy author still has to bring the story's characters to life and unfold a gripping plot. That's why good fantasy is such a hard act to bring off.

I love the idea of trying to do the work of old-fashioned novelists of plotting and of really making you curious about what's going to happen next and all that, but also trying to load it up with your weird thoughts and opinions.

Every villain needs her story told.

I suppose I do have an interest in stories that show complexity.

You have to think about storytelling over the long haul: what is going to engage an audience for, potentially, years and how characters can become deeply involving for an audience.

People love storylines. They love them because at some point, the talent will get people emotionally invested.

The more layers a story has, the better it is for the audience.

I want to give my characters nuance.

I really enjoy 'Mad Men,' but I'm hugely into 'Homeland.' The characters are very well drawn and complex.

As a writer, I have to show complexities. Through my writings, I hope to bring out people in different situations and not just one-dimensional beings.

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