Larenz Tate Quotes

It was always about the story rather than the character.

Writing a great script - not just a good one, but a great one - is almost an impossible task.

If you get a script and it's really well written, that's always exciting.

I'd like to be in anything that tells a good story and has an interesting character.

The important thing is the storytelling and having a script that makes you feel you're living and breathing through the characters.

The cool thing about Kyle Killen, he writes really defined characters. I was a big fan of 'Awake' and also 'Lone Star.' I just think that he's a really, really special writer, and complex and deep, and a really smart dude.

I much prefer a plotted novel to a novel that is really conceptual.

When you say the name Gilligan, you know who that is. If a show is good, if it's written well, you should be able to erase the names of the characters saying the lines and still be able to know who said it. If you can't do that, the show will fail.

It's a lot easier to act when the writing is good. Nothing is more frustrating than trying to figure out 'Well, why did I say this next?'

The challenge that I set for myself was to see whether or not plot and structure could coexist, and why it was that we had to always privilege one above the other.

The storyline has always been of paramount importance to me. The subject and climax of 'Phillauri' touched my heart.

Roles don't fascinate me. It is the narrative, the screenplay that is fascinating.

I can tell very early on, reading a script, within six or seven pages, whether I'm looking at real people, and whether I can see and hear real people.

I am only looking forward to good film script. It doesn't matter if the role is a supporting or a standalone role.

You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.

The writing is only ever the attractive thing about a part. And also if all the elements within the writing come together - the character and the structure and the narrative - if they are all there then you become excited.

I often attribute my screenwriting to journalism because they drill in the who, what, when, where and why - but we really need to land on that why. That's what I've been exploring in my writing for many years and trying to get better at.

I think storytelling is a thing of beauty, and also very difficult. It's a craft you have to continue to work at.

Of course, I'm not allowed to talk about the script, but I can say it is a really good story.

My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

An attempt to write nothing but characterization will soon bog down; I for one don't want to have somebody tell me about someone else.

When I first read the script a few years ago I thought it was one of the best written scripts I had ever read.

My books are character-driven. They're not driven by the story.

I had to focus and create a character in Bagger Vance, not just do my 'Will Smith' thing and get paid.