I saw the main character played by Mads Mikkelsen, and he's amazing. Hannibal had that going for it.
Personally, I believe “Young Adult” to be an arbitrary title that means the book "Can be enjoyed by anyone/Has a main character who’s not quite an adult/Isn’t really boring.
My stories usually begin with the characters and some elements of how power (personal, political, magical) functions in the world. The rest develops as I write, and research helps a great deal with that. If you're going to write about an agrarian economy, research agrarian economies. If your main character is starving, then you should know what it means for a malnourished body to break down.
The writer's job is to get the main character up a tree, and then once they are up there, throw rocks at them.
It's really a misconception to identify the writer with the main character, given that the author creates all the characters in the book. In certain ways, I'm every character.
Rob Horton, the main character of The Tiger Rising, was a secondary character in an adult short story I wrote, and he wouldn't go away after I'd finished the short story. I couldn't figure out what he wanted, so I wrote to find out.
I feel like when you're dealing with your main character, it has to be relatable and feel grounded, and that's the kind of acting I like to do anyway.
There wasn't much said, but I was thinking, perhaps unkindly - not unkindly,but on - inaccurately of Theodore Dreiser's "Carrie," when the main character in "Carrie" has been brought down by Carrie and his - he - dress is disheveled and all that sort of thing. And that's the last I ever saw of [Will Shawn].
As a hero, you have to play it straight. The audience is going to live through you, so you have to be more neutral. They will be projecting their thoughts and their actions onto the main character.
One of the beauties of 'The Girl with the Dragon Tattoo' is the very delicate and strange relationship between the two main characters.
I should love to do a novel, about one abnormal character seeing present-day life, very ordinary life, yet arresting through it, abnormality, until at the end the reader sees, and with little reluctance, that he is not abnormal at all, and that the main character might as well be himself.
Stay humble to the craft and never forget how much it actually takes to be the main character of a documentary.
Generally I wouldn't accept work on projects where I didn't agree with the sensibilities behind the main character.
There's something in psychology called the narrative paradigm, which essentially means that we think of our lives as stories in which we are the main characters.
Make sure your main characters are likeable. They can be flawed, but your readers need to be able to root for them.
I was very conscious of race as I was writing. I was lucky to have spent real time in Portuguese Africa, but I am white and my main characters are white, outsiders at sea in the "Dark Continent."
We don't see many films in which someone with schizophrenia is the main character.
With fiction, the works of women are often over-interpreted as autobiography, especially when the main character is a woman, especially if she is seen as privileged.
It's not racism per se but the tyranny of normalcy - no: the tyranny of attractive normalcy. Which leads to loveable white models who are supposed to be playing ordinary, adorably flawed professionals just like you and me with their brilliant minority friends (with vastly less camera time) who are surgeons. But it's not just ethnicity. That narrow vision also extends to, say, things like women leads. Women leads have to be good-hearted and nice, with a Slutty Best Friend. The main character can't be slutty. Because that's not attractively normal etc
Most people are middle class. Most people do wish their lives were better than they are. And I think by making my main characters ordinary, average guys, it helps readers identify with their problems. It also helps ground the supernatural events that follow in a recognizable reality and perhaps gives some of my wilder scenarios a little verisimilitude.
Le lecteur, lui non plus, ne voit pas les choses du dehors. Il est dans le labyrinthe aussi. The reader [as well as the main character] does not view the work from outside. He too is in the labyrinth.
The acting style that has emerged from HD, because of the contrast and how sharp the picture is, it's more neutrally played. The main character is very minamalistic. That's what works in this digital age.
When I'm following what a character does in a book I don't have to think about my own life. Where I am. Why I'm here. My moms and my brother and my old man. I can just think about the character's life and try and figure out what's gonna happen. Plus when you're in a group home you pretty much can't go anywhere, right? But when you read books you almost feel like you're out there in the world. Like you're going on this adventure right with the main character. At least, that's the way I do it. It's actually not that bad. Even if it is mad nerdy.
A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here."
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