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To become a villain, you had to have become disillusioned, and in order to become disillusioned you had to have been passionate about something you believed in that was shaken and ripped from your grasp as a protagonist in that stage of your life, leaving you disillusioned with God, if you will.
One of the bibles of my youth was 'Birds of the West Indies,' by James Bond, a well-known ornithologist, and when I was casting about for a name for my protagonist I thought, 'My God, that's the dullest name I've ever heard,' so I appropriated it. Now the dullest name in the world has become an exciting one.
The black person is the protagonist in most of my paintings. I realized that I didn't see many paintings with black people in them.
Crime is a very hard genre to feminise. If you have a female protagonist she is going to be looking after her mum when she gets older; she is going to be worried about her brother and sister; she will be making a living while bringing up kids.
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.
Just as Josef K, the protagonist of Kafka's 'The Trial,' awoke one day to discover that he had become part of some unfathomable legal carnival, we, too are frequently waking to discover that the rules of the digital game have once again profoundly changed.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
Hunter S. Thompson
We can't help identifying with the protagonist. It's coded in our movie-going DNA.
The main question in drama, the way I was taught, is always, 'What does the protagonist want?' That's what drama is. It comes down to that. It's not about theme, it's not about ideas, it's not about setting, but what the protagonist wants.
Henry Miller wrote novels, but he calls his protagonist Henry, often Henry Miller, and his books are in this gray area between memoir and novel.
Think 'Game of Thrones.' In the old days, this sort of show might be considered bad writing. It doesn't really seem to be moving toward a crisis or climax, it has no true protagonist, and it's structured less like a TV show or a movie than a soap opera.
I couldn't imagine what Fox thought they were doing, contemplating such a jagged protagonist for a prime-time drama. I only knew that I wanted the role very much.
I'd love to write something for a male protagonist. That's sort of the next frontier for me. I think it'd be really amazing to write the kind of parts that I love for women but for a guy.
There has to be a protagonist who has to overcome challenges, and there will be a race to finish.
'Black Swan' does what Hollywood movies have always done - it spends its energies on getting some surface things right while getting everything important wrong. Darren Aronofsky, the director, applies the same techniques and the same sensibility here as he did with 'The Wrestler,' only with a prettier protagonist.
It may sound very strange, but I love the freedom that writing a novel gives me. It is an unhindered experience. If I come after a bad day, I can decide that my protagonist will die on page 100 of my novel in a 350-page story.
In prose, leaps of logic can be made while the protagonist thinks about things and arrives at conclusions. Even with voiceover, there's no real way of having an inner voice without it taking over the entire story.
Perfect heroines, like perfect heroes, aren't relatable, and if you can't put yourself in the protagonist's shoes, not only will they not inspire you, but the book will be pretty boring.
I'm drawn particularly to stories that evolve out of the character of the protagonist.
The film 'The Diving Bell and the Butterfly,' based the book of the same name, has a line that enlightens and comforts me. The protagonist, who has lost all ability to move except one eye, discusses his role as a father. He notes, 'Even a fraction of a father is still a father.'
Because there is actually something very interesting in Goodfellas, how the style of the film changes as time goes by and based on the mental state of the protagonist.
Let's get right to it: On page 5 of Paul Murray's dazzling new novel, 'Skippy Dies,'... Skippy dies. If killing your protagonist with more than 600 pages to go sounds audacious, it's nothing compared with the literary feats Murray pulls off in this hilarious, moving and wise book.
The way I wanted to write it, is with a hero, or sort of a pure character who was the protagonist. And the antagonists were these demonic evil children, cause when you're a kid, seven or eight years old, and you're looking at the world around you - everything seems black or white, good or bad.
'Five, Six, Seven, Nate!' opens on my 13-year-old protagonist packing up a duffel bag and bidding his Midwestern town goodbye, heading off to start rehearsals for his New York City debut in 'E.T.: The Musical.'
As much as I love to dive into the action early, I think the hero's journey is important - the idea that the reader needs to experience the protagonist's everyday life before you turn that world upside down.
Martin Luther King, Jr.
John F. Kennedy
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