Craig Horner Quotes

For me, one thing I love is having an arc for a character.

Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.

My books usually end where they began. I try to bring characters back to a point that is familiar but different because of the growth that they have gone through.

Plot makes the character just as history makes the man.

Filmmaking is always sort of building a mosaic of this arc of what the character is going through.

Characters develop as the book progresses, but any that start to bore me end up in the wastepaper basket. In real life, we may have to put up with tedious people, but not in novels.

With a series, you build the character as you go. When you've got a shorter project or a film, you know the overall arc from the beginning.

When I read a script or I see a character, I don't necessarily see the arc of her, that by the end she is this person, she's different from she was in the beginning. I guess it's more a subconscious understanding of that arc.

I look for roles where there is some kind of an arc to the story.

Whenever you're blessed and given a second season, you can really let the characters evolve. That first season, you're setting everything up. It's background, where they're coming from, what they want to do. And then you get to marinate in it that second season.

In film, because you know where the ending is, characters can change, but in television, you substitute revelation for change, and that can be hard to pull off.

I love seeing a story evolve over several books and watching characters develop.

I think what good television does well is that it shows characters evolving.

My character on 'The Good Wife' is a smaller character, and his story arcs are typically season-long, unless it's a big episode for him. His transitions take place over many, many hours.

There's something really satisfying if you've created a bunch of characters that have withstood 25 episodes.

I've often said the reader knows every bit as much about Thorne as I do. When I created him for 'Sleepyhead,' I was determined he should be a character who would develop, book by book, change and grow as we all do, and who - crucially - would be unpredictable.

One pleasure of working on a trilogy is watching characters warp and grow over time.

I love the trilogy form. I like the idea that you can establish a character in book one. And then in the second part, you can take the characters down to their darkest point. And then in the third part, you have total freedom either to give them redemption - or just to kill them.

I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.

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

Being able to stay with a character over the course of years is a gift.

When you can have a character that the audience likes from the beginning, but then you put them in a situation where they grow - I think that gives it a lot of heart.

Novels demand a certain complexity of narrative and scope, so it's necessary for the characters to change.

For me to have the opportunity to stay with one character for, God willing, a long period of time, is really exciting.

The emotions of the actors are better when they understand the chronological factors that are adding to the story.