Nina Tassler Quotes

You need the audience to become invested in the characters and in order to become invested, they need to identify with the characters... and that's why the characters need to be real.

To connect with the characters, you need to connect with the world. If the world feels vaguely familiar, I believe the characters will feel relatable.

Audiences need to engage with characters.

As a writer, every time I create a character, I try to go for something to captivate the audience in some way. It's also an extension of how the audience would like to see themselves.

You can't make the audience fall in love with a character you don't like.

It's very hard to connect with a character when you haven't gotten a sense of who they are.

All my characters have been relatable.

When I approach any script, I always try to find what I would relate to most in it.

There's a bizarre insistence on how a story should be. 'The protagonist must be sympathetic!' they say. Whatever that means. I never engage in that discussion. I never use that word, 'sympathetic.' I just know 'interesting.'

Sympathetic characters usually have a voice. They usually don't have any trouble being heard.

But in film you always watch situations or stories that you really have no relation to. A lot of times just because there's no personal connection doesn't mean you can't connect with the film or the characters in the film.

In terms of the parallels, I've never related less to a character than Riggan.

I think the best way to sell a made-up character is to plant his feet into the real earth.

I'm focused on finding characters I connect to.

I'm interested in characters and relationships.

If people don't connect to Eric Carter's struggles, I'm sure they'll find a character in this series to connect to. That's ultimately what it's about for me.

I hope to create characters that people want to watch - and they either want to be or are, or it's something that they recognize.

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.

One must never assume that a character is sympathetic because of either the actor playing them or the fact that they're a lead. I think that's a recipe for failure, actually, because if they become unsympathetic, you lose your audience.

In my acting, I have tried to do this - to present to audiences a living creature in whom they can recognise themselves or someone they know.

I can tell you that as a writer and as a reader, I regard character as king. Or queen. No matter how riveting the action or interesting the plot twists, if I don't feel like I'm meeting someone who feels real, I'm not going to be compelled to read further.

When you're building a character, or at least when I'm building a character, you start saying, 'How am I going to make people like him?'

In creative writing, I teach that characters arise out of our need for them.

When a family film is done well, there's a character that every member of the audience can relate to. I want to be one of those guys.

The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.