In ‘Nineteen Eighty-Four,’ protagonist Winston Smith works at a propaganda department for the state called the ‘Ministry of Truth,’ where inconvenient news can be discarded down a ‘memory hole.’ Orwell was fixated on the idea that under certain governments, the past can be altered or documents rewritten.
I think women have every right to feel like they’re the protagonists in their own stories.
But protagonists are protagonists and heroes are heroes.
I’d read ‘Paradise Lost’ as an undergrad at university but remembered little about it. No, not true: I remembered few details, but carried with me with the persuasive arguments and pitiable dilemma of its arguable protagonist, Satan.
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.
I wrote ‘Twenties’ back in 2009. I always wanted to tell a story where a queer black woman was the protagonist, and I’m so grateful to TBS for giving me a platform to tell this story.
My writing is a very authentic journey of discovery. I’m going out there to learn who I am. My readers, consequently, take the same journey as my protagonist.
We can’t help identifying with the protagonist. It’s coded in our movie-going DNA.
I’m more comfortable writing traditional protagonists. But ‘Steve Jobs’ and ‘The Social Network’ have antiheroes. I like to write antiheroes as if they’re making their case to God about why they should be allowed into heaven. I have to find something in that character that is like me and write to that.
When I am playing the protagonist of the film, before the release, I feel a certain pressure because I become the face of the film, then, and I have a major responsibility.
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.
At some point, I stumbled across my two main protagonists: William E. Dodd, a mild-mannered professor of history picked by Roosevelt to be America’s first ambassador to Nazi Germany, and Dodd’s comely and rather wild daughter, Martha, who at first was enthralled with the so-called Nazi revolution.
