Character Relevance Quotes

You could say that Iron Man was a second-tier character, and it turned out very successfully. I simply think it's down to the movie itself, and whether people enjoy the movie, are involved in the movie, and that it entertains them. From that point of view, the movie has to stand alone.

There's a reason Archie didn't go the way of Betty Boop or Davy Crockett or Woody Woodpecker, forgotten relics of a bygone era, and it's because when 'Archie' stories are at their best, anyone of any age can see a little bit of themselves in them.

If somebody is in a story, they need to be there for a reason, and not just to set up somebody else's story.

Apart from 'VIP' being a blockbuster movie, the various characters such as mine, the Luna bike I use in the movie, the lovable amma and appa, a pet dog named Harry Potter, the innocent brother, etc., had a huge reach among the audiences.

I'd like to think that the door is always open for just the best actor for the role, you know? Race or gender shouldn't have anything to do with it, unless the character or story is focused on that for some particular reason.

From the early days of the Raj, Shakespeare had been woven into the fabric of India's education, and my father understood that in a culture rich with storytelling and fantastical tales, Shakespeare's characters and storylines resonated in a powerful way.

When it comes to a character, I make sure that it adds to the plot.

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.

To me, it doesn't really matter how big the part is as long as the part is important to the story.

Even if these stories are 3,000 years old, there's still so much about the characters, about the dilemmas, about their understanding of the universe that still resonates. The whole idea of order and chaos, which is really central to the ancient Egyptian understanding of the world, is still very much with us.

Characters written in 1990 would be acting like idiots if they were cast into the present. For example, the reader might wonder: Why isn't she texting? Where's her cellphone? Can't she have a simple paternity test? For God's sake, look on the Internet and check him out!

I have not done any film where my role didn't make sense.

I am not into this old-school way of doing things, where you kill characters, and you bring them back, and then you kill them again, and then you bring them back, and their deaths mean nothing.

The stuff we're seeing in 'Deadpool' and 'Harley Quinn' now, Plastic Man was doing in the 1940s. It's a character that was ahead of its time back then and the stories are still funny and still relevant.

It's very important that all the supporting characters feel like they've existed in the world, that they've had a history, and they'll go on to have a history within the scope of the story rather than just popping up and then disappearing.

My characters have to talk, or they're out. They audition in early scenes. If they can't talk, they're given less to do, or thrown out.

The reader is going to imprint on the characters he sees first. He is going to expect to see these people often, to have them figure largely into the story, possibly to care about them. Usually, this will be the protagonist.

The only thing that I have to be assured of is that the character must be negative for a sensible reason. She should not be behind everyone's life just for fun, which is the case in many serials. Moreover, it will also test my potential as an actor, so playing a negative character would be an interesting challenge for me.

Characters work really well when they're reflective of the times that they're operating in.

Poirot is a classic character from fiction, not a MacBook Air; he would not benefit from updates.

Sure, I'll have characters drop in and out of books but the main cast of characters always changes. Maybe I'm wrong but I think if had the same joe detective guy or gal, I wouldn't write them as well; I wouldn't do as good a job.

Jake from 'Two and a Half Men' means nothing. He is a non-existent character.

I can only try to keep the characters interesting; it's up to the readers to decide whether they're still relevant.

If you change a character too much, the audience falls out of love with the character, but characters need to evolve and grow over the years.

I always put myself in the audience's place and see if, as a viewer, I would want to see the film. If yes, then I want to know who's directing it, what my character is, and if it's impactful. If all these points fall in place, I'll do the film. If not, then I won't think twice before saying no.