Active Evil is better than Passive Good.
There are heroes in evil as well as in good.
To put the point sharply: If an informer in the French underground who sent a friend to the torture chambers of the Gestapo was equally a victim, then there can be no right or wrong in life that I understand.
Wizard's Second Rule The greatest harm can result from the best intentions.
There is nothing more alluring to man than freedom of conscience, but neither is there anything more agonizing.
Most evil is done by people who never make up their minds to be good or evil.
The lesser evil is also evil.
Death is a scandal. The machine is functioning, we are all hostages
Fiction should be about moral dilemmas that are so bloody difficult that the author doesn't know the answer.
It doesn't make sense to have to do the wrong thing in order to do the right thing.
One of the things that I've always appreciated about the 'X-Men' style of storytelling versus other Marvel stories is how fluid the line between good and bad and right and wrong is.
Vengeance taken will often tear the heart and torment the conscience.
If I see something that's morally ambiguous or ambiguously beautiful or has some pull in some way, I won't censor myself; I always run towards the light.
Constantly choosing the lesser of two evils is still choosing evil.
People can do bad things for good reasons, or for what they think are good reasons.
I will always find a defense for characters, and that's why it's fun playing characters that are morally ambiguous, or are at least perceived superficially as being problematic.
Philosophy triumphs easily over past and future evils; but present evils triumph over philosophy.
Genuine tragedies in the world are not conflicts between right and wrong. They are conflicts between two rights.
Evil, when we are in its power, is not felt as evil, but as a necessity, even a duty.
Who is to say who is the villain and who is the hero? Probably the dictionary.
The evil that we know is best.
I want to play a character with grey shades.
Morality without a sense of paradox is mean.
I wanted to make a redemptive thriller that didn't end with some kind of big, crazy shootout and blood spill, but more of a collision of ideas and a discussion of ethics.
I always look at films as real stories with real people in real situations. That's why I struggle with the whole notion of calling someone the 'good guy' or the 'bad guy', because I think we all have potential to do good things and all have the potential to do bad things.
