Quotes of All Topics . Occasions . Authors
I wanted to make a cinema of ideas, not plots, and to use the same aesthetics as painting, which has always paid great attention to formal devices of structure, composition and framing.
I start 'The Code Book' with the story of Mary Queen of Scots and the Babington Plot, which was foiled when Mary's enciphered messages fell into the hands of Elizabeth I's codebreakers.
When I watch a movie I don't really care too much about the plot - not that it isn't important, but what I remember is the visual imagery, something that happens in an individual scene.
Once the world has been created, the fantasy author still has to bring the story's characters to life and unfold a gripping plot. That's why good fantasy is such a hard act to bring off.
Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.
Plot exposition that can be gently wound out by the authorial voice and internal monologue of a character in the length of a page has to be delivered in a matter of seconds on the stage.
I began to be impressed by what made a good book-how you needed to have a sensible story, a plot that developed, with a beginning, a middle, and an end that would tie everything together.
Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.
Kajol as Vasundhara is a tough cookie. Raghu and her world collides, and they have different ideologies. The plot revolves around their core beliefs and their disagreement with each other.
There is not one big cosmic meaning for all, there is only the meaning we each give to our life, an individual meaning, an individual plot, like an individual novel, a book for each person.
There's a stigma that guys hate romance and hate love, but that's not true. Look at 'Iron Man.' There's a whole through-line plot about his relationship with Pepper, and everybody loves it.
Point of view is not something I consciously decide. Almost always, when I come up with a plot I find that the point of view has automatically arrived with it, part and parcel of the story.
Opponents of civil liberties contend the NSA data collection has made our country more safe, but even the most vocal defenders of the program have failed to identify a single thwarted plot.
When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.
You go to the marketplace and there are seventeen consciousnesses moving in and out. Sometimes you want the same shirt that I want, and our thought bubbles collide a bit and that makes plot.
Literary novelists who have a strong handle on plot are often characterized as good vacation reads because they manage to transport you elsewhere, away from the petty facts of ordinary life.
In my books, women often solve the problem. Even if the woman is not the hero, she's a strong character. She does change the plot. She'll often rescue the male character from some situation.
Plot, rules, nor even poetry, are not half so great beauties in tragedy or comedy as a just imitation of nature, of character, of the passions and their operations in diversified situations.
I've always had a big voice, but I'm very aware of when you need to belt or go all out like that - when it's necessary and plot driven - as opposed to just screaming to scream, which I hate.
This life is not man's own show; if he becomes personally and emotionally involved in the very complicated cosmic drama, he reaps inevitable suffering for having distorted the divine 'plot.'
It is scary for an actor when you get hired as a lead. No matter what the plot is, it is your job to do something interesting enough to make them want to get inside the lead character's head.
It takes a fierce devotion to defend your artistic space, and eternal vigilance over it, because the needs of others will grow like vines in your little plot and claim it back for the jungle.
As a former career intelligence professional, I have a profound appreciation for the value of intelligence. Intelligence disrupts terrorist plots and thwarts attacks. Intelligence saves lives.
Oh, how great is the power of truth! which of its own power can easily defend itself against all the ingenuity and cunning and wisdom of men, and against the treacherous plots of all the world.
When we did the first sequel [of the Austin Powers] , it was on coattails of the first one doing so well when it was released on video, so we really didn't know what to do with the second plot.
You can't mess around with young readers - you have to cut straight to the heart of the story. The character can be complex, the plot can have some surprises, but the emotions have to be clear.
'At Freddie's' takes place in 1960s London at the Temple Stage School for child actors. It has a plot that makes you feel sorry for the people who have to write summaries on the backs of books.
I better make the plot good. I wanted to make it grip people on the first page and have a big turning point in the middle, as there is, and construct the whole thing like a roller coaster ride.
In Endless Quest books, you start the plot, and the character has to make choices. Then you have to write one choice over here, one choice over there. The author might get one or two choices out.
I find getting the first draft down to be the biggest challenge. Every word, every punctuation mark, every plot point is a decision. It's much more fun to play with something that already exists.
If you need to take a step back from day-to-day operations and plot out the long-term direction of your user experience strategy, consultants can give you a perspective you can't get on your own.
Sometimes, by using the most over-the-top, ridiculous plot device you can imagine, you get some interesting little conflicts and cool things that you might not otherwise have a chance to explore.
I get up at 7:30. I grab a canvas bag and go out. I say hello to the people in the supermarket and liquor store. I buy the 'New York Times.' I go to the beach and think about characters and plot.
Making up characters and places and plots, unlike fixing your plumbing or doing dishes, is anything but practical or rational. I write what needs to be written the way that seems genuinely right.
To this day, I get rewrite offers where they say: 'We feel this script needs work with character, dialogue, plot and tone,' and when you ask what's left, they say: 'Well, the typing is very good.'
The process is different for every book, but there are similarities. I always draw from the inside out. I don't plot them ahead of time, and I'm always surprised by things that happen in my books.
Not only a great game, 'Uncharted 2' raised the bar for storytelling for the medium. The game treated action as a part of the overall story rather than a way to move from plot point to plot point.
The one thing I would like more credit for is being part of a movement which involves recognising the importance of plot and asserting that books of literary worth could be written that had plots.
In Fascism, if you were a Jew, you were simply killed. Nobody had the idea of arresting Jews and torturing them to confess the Jewish plot. Because in Fascism, you are guilty for your whole being.
Anytime I feel like I am beginning to explain the plot or characters too much my stomach churns. I like stories that let the characters speak for themselves and don't give you all the information.
New dramatic writing has banished conversational dialogue from the stage as a relic of dramaturgy based on conflict and exchange: any story, intrigue or plot that is too neatly tied up is suspect.
Life's generally artless ... but it does get these occasional hard-ons for plot. It connects things, nefariously, behind your back, and before you know it you're in the final act of a lousy movie.
I do see a lot of roles that are, like, the girlfriend or the love interest or the girl next door. Maybe not totally well-rounded kinds of characters - women who are more of a plot device in a way.
I love developing children as characters. Children rarely have important roles in literary fiction - they are usually defined as cute or precious, or they create a plot by being kidnapped or dying.
A lot of the fun of 'Gravity Falls' comes from the secrecy surrounding the plot. We want fans to be able to guess and speculate, to be surprised by twists and be engaged when they get things right.
Nobody mentioned this in any of the reviews, but the reason we came up with that plot for 'Reno 911: Miami' is because we thought it was just the stupidest title for a movie that we could think of.
I started Pilates. I'm the only guy in there. They plot before I get there: 'How can we make John look ridiculous?' Because every exercise involved my legs up, like I'm in the stirrups or something.
I am much more aware of making the plot more original, avoiding contrivance, having the story matter much more. I used to think more about symbols consciously. Now I think much more about the story.
With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.
You compare yourself to somebody who you think is a peer, and you can totally lose the plot, and not understand that you are nothing like them in the first place, and it was never you versus anybody.