Stephen Graham Jones Quotes
If the main character's not in jeopardy - physical, psychological, emotional, whatever - then you don't have any tension, and you don't have a story.
Quotes to Explore
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I've heard people tell me there's never been a gay character like Agron on TV before, and some fans have even thanked me because they now feel like they have a gay action hero, and it's very endearing to hear that kind of stuff. But I just played him the way he was and tried to do right by the character.
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I'm not averse to being a supporting character. I try to pick parts where I can add something.
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Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.
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Where there is righteousness in the heart, there is beauty in the character. When there is beauty in the character, there is harmony in the home. When there is harmony in the home, there is order in the nation. When there is order in the nation, there is peace in the world.
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If I don't love my character, I can't do it.
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I started in theatre, and for me, it was all about transformation. You transform into the character that you're playing.
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My only conclusion about structure is that nothing works if you don't have interesting characters and a good story to tell.
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I tend to write about my anxieties - it's what I'm afraid will happen. And I write a story working it out.
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Great ambition is the passion of a great character. Those endowed with it may perform very good or very bad acts. All depends on the principles which direct them.
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When everyone around you is doing all this incredible pirate acting and you're having to sort of play the straight guy and move the story forward, you kind of want to be doing some of that pirate ripping it up stuff, but in truth, to be a part of that project is what I love.
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I don't read for plot, a story 'about' this or that. There must be some kind of philosophical depth rendered into the language, something happening.
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I think people, especially in the Muslim community, are rightly cautious any time you hear, 'Oh, there's going to be a Muslim character.'
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I love a good cliffhanger. I love when big events happen in shows. I love shows that aren't afraid to take risks and to really do what's best for the story line and realistic for the story line.
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All that we want to do away with is the miserable character of this appropriation, under which the labourer lives merely to increase capital, and allowed to live only so far as the interest to the ruling class requires it.
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Serious reflexion about one's own character will often induce a curious sense of emptiness; and if one knows another person well, one may sometimes intuit a similar void in him. (This is one of the strange privileges of friendship.)
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I don't like the idea that one hotel could be better than another. In any city, I try to find a hotel that has the identity of that place - Claridge's in London, the Danieli or Cipriani in Venice. In New York, I stay at the Mercer Hotel; it is so much in the character of SoHo.
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I used to see my friend Harland Williams in a lot of auditions. Then you'd see one of the DeLuise kids because they're kind of heavy and character-y. You'd just see a lot of the same guys over the years.
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There's something to play if there's conflict going on. Whatever that conflict is, that's where drama is; if the character is grappling with something you've got something to play, there's layers to it.
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I remember once seeing a guy in the grocery store who looked so much like my character the Archangel Gabriel, I wanted to go up to him and say, 'Hey, put that Red Bull down. You've already got wings.' My friend had to sternly remind me that he was a stranger and I did not, in fact, create him.
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Scholastic learning and polemical divinity retarded the growth of all true knowledge.
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We're all more or less interested in the 'swinging sixties', of course, but that's not what I mean. I'm interested in the particular naive glamour that clings to the post-war and pre-Hendrix era.
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One of the things that's frustrated me as a deep-sea explorer is how many animals there probably are in the ocean that we know nothing about because of the way we explore the ocean.
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I've seen unpublished manuscripts where the writer doesn't know they are making fun of the villain - but they are. If you aren't afraid of your villain, how can your hero be afraid?
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If the main character's not in jeopardy - physical, psychological, emotional, whatever - then you don't have any tension, and you don't have a story.
