Parineeti Chopra Quotes

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.

Big stories need human stakes.

If you don't have people that the reader cares about and stories that are gripping, you've got nothing.

I think what I look for in a script, it's the relatability quotient that matters the most.

You can film the most exciting car chase and the most exciting stunts, but if you don't care about the person inside the car, and you don't care about their predicament, you're not really going to care about the action, either.

I don't know acting, but I choose good stories and portray emotions according to the story.

In theatre, you learn the story is more important than the actor.

Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.

A stage play is basically a form of uber-schizophrenia. You split yourself into two minds - one being the protagonist and the other being the antagonist. The playwright also splits himself into two other minds: the mind of the writer and the mind of the audience.

If we get caught up in a story, it's because we've started to care about the characters, and that can only happen if we've moved beneath the surface.

One of the things that separates a good genre movie from a bad genre movie, I always think, ironically, is when you care about the people. The dime a dozen ones are where you don't have any awareness of the character.

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

Action-adventure, that genre, only works for me if you can care about the characters. If the hero's not taking some kind of a journey, then there are no stakes - and no stakes, then you don't care if he lives or dies, wins or loses.

The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.

'The Piano Lesson' is very sophisticated, easily the most adult or complex material I've attempted. It's the first film I've written that has a proper story, and it was a big struggle for me to write. It meant I had to admit the power of narrative.

I think I would struggle with any job if it was purely about effects. Even as a viewer, those aren't the kind of things that interest me. I think ultimately you have to be connected to characters and their relationships. Otherwise, it's not drama to me.

In order to deliver the emotional truth in the story, you have to include some of the literal truth.

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 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.

In a lot of ways, TV writing taught me how to be a good storyteller. I learned about dialogue, scenes, moving the plot forward.

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

I think it is important that you care about the characters, and you are not just waiting for the next action sequence but have a vested interested in what happens to them.

When a script moves me, I find that I immediately understand a character. Of course not completely, but I do understand.

Every role is challenging in its own way, but the most challenging roles are the ones that are badly written - then it's completely up to you to come up with something that is interesting to the story and myself as an actor.

I'm just a sucker for a good script.