Quotes of All Topics . Occasions . Authors
Every time I got 'Amazing Spider-Man' or 'Fantastic Four' or another book firmly on the rails, we got pulled into some big event book or crossover and it cost momentum and messed badly with the pacing and structure of the book.
I've seen 'Goodfellas' a hundred times, and one of the things that I take away from that movie is dynamic pacing and energy. I just think that film is sort of a paragon of excellence in filmmaking and the compression of narrative.
I am a very firm believer in Cody Rhodes. I think he is fantastic, an absolute superstar. Unbelievable in the ring, great timing, great pacing - he's in great physical conditioning, can cut a heck of a promo, and just an all-around good guy.
For me, writing for kids is harder because they're a more discriminating audience. While adults might stay with you, if you lose your pacing or if you have pages of extraneous description, a kid's not going to do that. They will drop the book.
If you're writing a thriller, mystery, Western or adventure-driven book, you'd better keep things moving rapidly for the reader. Quick pacing is vital in certain genres. It hooks readers, creates tension, deepens the drama, and speeds things along.
If you watch a lot of television, the pacing, the quick cutting is so frenetic, but it doesn't always make it funnier. What I'm noticing is that when things are allowed to unspool more slowly, younger crowds really like it. They really appreciate it.
A movie contains literally tens of thousands of ideas. They're in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.
Full Frame is where I had the first showing of my first film, 'Street Fight.' I have a fond memory of pacing around outside the theater, nervously trying to keep from throwing up. It's a magical festival, well curated, with a warm and generous spirit.
What I responded to, on the page, was the way a poem could liberate, by means of a word's setting, through subtleties of timing, of pacing, that word's full and surprising range of meaning. It seemed to me that simple language best suited this enterprise.
We live in a zoo, and we get to share all our animals with the people who come in. We really put our animals first, and then the staff, and then the visitors. The animals aren't pacing; they're all happy. When you touch an animal, it ultimately touches you.
You feel it in there, pacing your heart sometimes, and it has what's called a defibrillator. Should I suffer that arhythmia, it's generally sudden death. And the paddles that are internal shock you back and restore your rhythm to its normal and natural state.
One of the things I admire about longer stories is the way writers can work with dead time and slower, more idle moments - not only can they feel expansive, they feel lived-in; the unhurried pacing often makes the endings even more resonant and surprising for me.
The corncob was the central object of my life. My father was a horse handler, first trotting and pacing horses, then coach horses, then work horses, finally saddle horses. I grew up around, on, and under horses, fed them, shoveled their manure, emptied the mangers of corncobs.
All these years later, I have almost no memory of the shows themselves. It's a blur. I remember my jogging runs better - that was my way of getting my energy together. I used to try to get to the arena as late as possible; otherwise, I'd just be pacing around, waiting to go on.
Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.
Comic-strip artists generally have very modest ambitions. Day to day, we labor to fit together all these little moving parts - a character or two, a few lines of dialogue, framing, pacing, payoff - but we certainly don't think of them adding up over time to some larger portrait of our times.
The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.
I'm a 'frotteur,' someone who likes to rub words in his hand, to turn them around and feel them, to wonder if that really is the best word possible. Does that word in this sentence have any electric potential? Does it do anything? Too much electricity will make your reader's hair frizzy. There's a question of pacing.
In most countries, it is possible to visit zoos and see bored animals pacing back and forth in cages, with nothing to do but wait for the next meal. Circuses are even worse places for animals. Their living conditions are deplorable, especially in travelling circuses where cages have to be small so that they can go on the road.
When you tell a story, there are imperatives of structure, of style, of pacing and all of this, that are there simply because you want to make it a good story. When do you introduce your characters? When do you put them onstage, when do you take them off the stage? How do you weave the different threads of the narrative together?
If I were writing an article for the newspaper, it would be thesis statement, information, information, supporting arguments. That would be the setup. When I'm making a documentary, the pacing of the film and the way that you sort of switch from character to character - all of those are more about storytelling than straight journalism.
I'm not 100% sure 'Rebecca' qualifies as a thriller, given it's three parts screwed-up love story and two parts ghost-story-without-a-ghost, but the mystery at the heart of the novel is what happened to Maxim's first wife, the eponymous Rebecca, and it's unravelled with the pacing and finesse of the finest psychological thrillers out there.
Barack Obama knows that to create an economy built to last, we need to focus on middle-class families. Families who stay up on Sunday nights pacing the floor, like my dad did, while their children, tucked in bed, dream big dreams. Families who aren't sure what Monday morning will bring, but who believe our nation's best days are still ahead.
