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.
You don't need to like your protagonists.
The studios aren't lining up to make films about black protagonists, black people being autonomous and independent.
Films with female protagonists don't attract many eyeballs. Most of them are perceived as feminist films. If Bollywood starts giving women major roles in entertaining movies, then the audience, too, will open up to the idea of watching commercial films in which the actresses do more than just play the role of the hero's love interest.
Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.
We only see female protagonists who are likeable, with one cute flaw, such as adorable clumsiness. I'm fed up with it.
Characters stretching their legs in some calm haven generally don't make for interesting protagonists.
As a storyteller, I've always been fascinated with the idea of recreating this notion of choices in fiction. My dream was to put the audience in the shoes of the main protagonists, let them make their own decisions, and by doing so, let them tell their own stories.
In the past, I'll admit, I've enjoyed being compared to the protagonists in my screenplays.
I try to have something in common with my protagonists, especially when I'm writing in the first person.
