I think that villains who are just brawn, muscles and weapons are boring. So I always try to find intelligence in my villains and also a sense of humor whenever that is possible.
We're not interested to know the real heroes. We're really more interested in the villains, actually, and they seem to thrive, and it continues to be business as usual.
[Toby Jones] is completely different. It's a completely different character. He's the darkest villain we've had. There was always something charming and engaging about Moriarty. There was something fascinating and actually amoral, rather than immoral, about Charles Augustus Magnussen. This guy is the purest evil. Sherlock [Holmes] is actually appalled by him.
We have a lot of villains in the world, all right? And the Catholic doctrine says turn the other cheek, the Christian doctrine. But if you turn the other cheek, you could be annihilated. So when is it justifiable to defend yourself and take aggressive action in that regard, like dropping drones on people?
When I came up with the concept of 'The Dream,' on the surface he just seemed like another creepy bad man or villain. It had to be played by someone larger than life, but not malicious. And Keanu Reeves is that person to me, and he was The Dream like I wanted The Dream.
I think that there are just people who are hurting other people, sometimes for the best of intentions and sometimes for the worst. In different times in my life, I've been the hero and I've been the villain. I also think that we're all evil sometimes.
I enjoy playing villains - I'm very proud that I belong to a very honorable tradition of British actors who come to Hollywood to play the bad guys. At some point in American film, I think there was the idea that the British accent had a tone to it that's a little bit naughty.
Playing villains is very liberating because unlike the leading man, nothing is expected of you. Leading men have to look good, they have to behave in a certain way, they have to fulfill an audience's expectations. But as a bad guy, you have free license to take the audience by surprise. And that's what audiences want - they want unpredictability from their villains. The villain's job is to subvert it.
I don't think I change, but it definitely makes me aware of some of the things that are inside of me. Actually, because I have played a lot of villains up until now, I put something of myself into these roles. So when I see myself on the screen I'm more aware of when I'm like them in real life. I can feel it. That's the character you play; that's the guy you don't want to be. So I'm more in control of it.
Villains are fun. I think the important thing in playing them is that they don't see themselves as villains. It lets you be a little more expansive.
I have a little bit of a pet peeve about how the middle class is depicted in movies. I feel like they tend to be either depicted in a very sentimental way, where everybody has a heart of gold except for the villains you're supposed to hiss at, or there's a sort of indie-style version... When it's done well, it's brilliant, it's Blue Velvet. But when it's done poorly, it feels like shooting fish in a barrel, just saying, "Ooh, scary suburbs."
Everything [Ted] Cruz was doing was legal, it was aboveboard, but it was portrayed as Cruz is the villain, and here's [Donald] Trump and what he wants and will he get it? "Will he get to 1,237 before the convention? And if he doesn't, will they block him?"
Will Hillary [Clinton] survive or will the villains...? [James] Comey and the FBI and the Republicans, will they succeed? There isn't any coverage of whether or not Hillary actually broke the law. The media's not interested in whether or not she actually trafficked in classified data.
The story is whether or not the villains, in the eyes of the media, will win or can be stopped. But when you change the dynamic and make it [Donald] Trump versus Hillary [Clinton]? Well, we already know the media has already once gotten caught up and captured and totally engrossed in the Trump story 'cause they don't know how it's gonna end day to day.
The [media] coverage is always, "Will [Democrats] get it? Will they get what they want?" And, really, it's even worse than that. It's not, "Will they get it?" It's "How soon will they get it, and what are the villains gonna do to try to stop them from getting it?"
Certainly each side - the 'absolutists' and the 'constructivists' or 'humanists', as I've labelled them - accuses the other of hubris, and lays claim to humility. I see hubris on both sides: a pretence that we could ascend to an objective account of the world, on the one hand, and a pretence that we have the resources to live and act without a sense of there being something to which we answerable, on the other. So both sides are 'villains'.
Well, you know, in any novel you would hope that the hero has someone to push back against, and villains - I find the most interesting villains those who do the right things for the wrong reasons, or the wrong things for the right reasons. Either one is interesting. I love the gray area between right and wrong.
Villains are kind of hard to really know on a personal level when you see them as mean, unsensitive-type people.
If you look at the curricula of most universities and schools in this country [USA], considering our long encounter with the Islamic world, there is very little there that you can get hold of that is really informative about Islam. If you look at the popular media, you'll see that the stereotype that begins with Rudolph Valentino in The Sheik has really remained and developed into the transnational villain of television and film and culture in general.
Moriarty is arguably the most famous super-villain in terms of literature.
You have a freedom in playing the villain. You can be a lot more out there, really. And there is a joy in that. There is a joy in kind of making a zone of psychoses.
Look for the contradictions in every character, especially in your heroes and villains. No one should be what they first seem to be. Surprise the audience.
Here are examples of real women who have done real things: good, bad, and in between. We're expanding not just the definition of the female or feminine hero, but also villains and more complex, nuanced female characters. Too often I hear men say, "I don't know how to write women." Here you go, here are five incredible women you can use to inspire your own stories.
"The Cursed Wheel" is the heart of the whole year on All-Star. All-Star is a series that's largely compartmentalized so that every artist can reinvent a villain and have Batman go up against the villain in a way that's pretty singular.
Nothing genuinely historical was ever lost in this country. For this reason we have two ruling parties: villains and fools.
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