A Quote by Jesse L. Martin

'The Merchant of Venice' is a straightforward, clear story, while 'The Winter's Tale,' as a general rule, is hard to present because there is so much plot. — © Jesse L. Martin
'The Merchant of Venice' is a straightforward, clear story, while 'The Winter's Tale,' as a general rule, is hard to present because there is so much plot.
When in doubt, the rule of threes is a rule that plays well with all of storytelling. When describing a thing? No more than three details. A character's arc? Three beats. A story? Three acts. An act? Three sequences. A plot point culminating in a mystery of a twist? At least three mentions throughout the tale. This is an old rule, and a good one. It's not universal - but it's a good place to start.
So I work hard to present the human side of my characters while not neglecting the plot.
The romance is the primary plot in a story that has two plots. The second plot is not a subplot, but one that is interwoven with the romance plot (if that makes sense.) A story needs compelling characters in a compelling plot.
The artist usually sets out -- or used to -- to point a moral and adorn a tale. The tale, however, points the other way, as a rule. Two blankly opposing morals, the artist's and the tale's. Never trust the artist. Trust the tale. The proper functions of a critic is to save the tale from the artist who created it.
I played Shylock in my school's staging of 'Merchant of Venice.'
As many times as I've seen 'The Merchant of Venice,' I always take Shylock's side. For all the hatred that guy is shown, he has a reason to hate in return. He's treated cruelly. And it's tragic that he learns to be intolerant because of what others do to him.
I don't think plot as a plot means much today. I'd say that everybody has seen every plot twenty times. What they haven't seen is characters and their relation to one another. I don't worry much about plot anymore.
Do you ever get moods when life seems absolutely meaningless? It's like a badly-constructed story, with all sorts of characters moving in and out who have nothing to do with the plot. And when somebody comes along that you think really has something to do with the plot, he suddenly drops out. After a while you begin to wonder what the story is about, and you feel that it's about nothing—just a jumble.
Personally, my general winter rule is that, if I'm not being paid to leave my apartment, then I'll be damned if I'm leaving.
Art is not difficult because it wishes to be difficult, rather because it wishes to be art. However much the writer might long to be straightforward, these virtues are no longer available to him. He discovers that in being simple, honest, straightforward, nothing much happens.
People have asked me a lot, 'What comes first? The pictures or the story? The story or the picture?' It's hard to describe because often they seem to come at the same time. I'm seeing images while I'm thinking of the story.
Nothing ever seems straightforward in Venice, least of all its romances.
I had to write something and couldn't think of a plot, so I decided to write a Cinderella story because it already had a plot! Then, when I thought about Cinderella's character, I realized that she was too much of a goody-two-shoes for me, and I would hate her before I finished ten pages.
There are two great rules of life; the one general and the other particular. The first is that everyone can, in the end, get what he wants, if he only tries. That is the general rule. The particular rule is that every individual is, more or less, an exception to the rule.
There is a big difference between The Merchant of Venice and a photograph of two males of different races in an erotic pose on a marble table top.
Most people have a hard time confronting their weaknesses in a really straightforward, evidence-based way. They also have problems speaking frankly to others. Some people love knowing about their weaknesses and mistakes and those of others because it helps them be so much better, while others can't stand it.
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