A Quote by Chloe Benjamin

You can't have bad things happening to characters simply for shock value; you need to provide context. — © Chloe Benjamin
You can't have bad things happening to characters simply for shock value; you need to provide context.
What had the board been doing when they see these things happening. I mean, you can write a law that says you cannot provide incentives for the openings of accounts, but I think it gets to be a deeper issue of the value structure of any organization and the value of its leaders.
You don't need shock value things to make a movie successful.
I want you to remember who you are, despite the bad things that are happening to you. Because those bad things aren't you. They are just things that happen to you. You need to accept that who you are and the things that happen you, are not one and the same.
Today we live in a world that judges its achievements by speed and busyness. ? We are so busy making things happen that we have little time left to think about the value of what is happening. We urgently need people who concentrate on the meaning of life rather than simply the speed.
Everything that's rock n roll is ever meant to be is happening now. I need to get over the shock that that thing is actually happening and that thousands of millions of people around the world are watching.
That's what you strive for - you strive to take your move to the next level. It's about shock value, always shock value, but keeping it flavor and stylized and making it yours.
You don't do things for shock value anymore, because that's not even the language of today. At least, that's not what interests me. If I do it, it's because I want to see things in another way, not necessarily because I want to shock anybody.
Now, some people do this for shock value. Shock is just another uptown word for surprise. Granted it has a different quality to it, but a joke is about surprising someone. I'm a great believer in context. You can joke about anything. I do like finding out where the line is drawn, deliberately crossing it and bringing some of them with me across the line, and having them be happy that I did.
In my books my characters experience things as they are. My books allow youth an honest look at important issues affecting them. As adults we want to believe things like sex abuse or drug use are not happening anymore, or happening less and less, but that's not the case and we need to acknowledge that. We can't make life prettier for youth, but we can arm them.
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
If you provide enough value, then you earn the right to promote your company in order to recruit new customers. The key is to always provide value.
In general, I think writing characters, no one is 100 percent good or bad, and certainly, the bad characters never think they're bad themselves. Even the worst characters don't feel like they're bad guys on the inside.
I don't enjoy putting my characters through hell unless there's a reason. I don't use violence or anything just for shock value. They're always a means to an end.
There are a few critics overseas, and occasionally a critic will write an astute analysis of the movie. There is value in reading critics that actually have something intelligent to say, but the journalistic community lives in a world of sound bites and literary commerce: selling newspapers, selling books, and they do that simply by trashing things. They don't criticize or analyze them. They simply trash them for the sake of a headline, or to shock people to get them to buy whatever it is they're selling.
Whatever is being investigated, created or produced now, in movies or TV, needs to consider the context in which it is being distributed. It's not a vacuum. There are certain universal themes of love, conflict, loyalty or family that are everlasting and that need to be presented in a way that makes it feel relevant, even if it's a period piece. You need to consider what context that film, that story and those characters are being seen in.
People want the tragedy. They need things to go wrong, they need the tension. In my characters there’s a core of trust and love that I’m very committed to. These guys would die for each other, and it’s very beautiful. But at the same time, you can’t keep that safety. Things have to go wrong, bad things have to happen.
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