A Quote by Kari Skogland
Character, story and plot are affected by any action sequence so you have to really design them accordingly.
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The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.
I've always been very strong minded on character-based fights and character-based action. If you take the character out of the action and you just shoot it as an action sequence, the audience starts to lose connection.
The characters are the plot. What they do and say and the things that happen to them are, in a sense, what the plot is. You can't take character and plot apart from each other, really.
Baseball is part of America's plot, part of America's mysterious, underlying design-the plot in which we all conspire and collude, the plot of the story of our national life.
There's an arc to an action sequence, and you need to come out the other end knowing your character better, and maybe the story has moved forward in a compelling way.
A dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.
The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.
I approach an action sequence almost like a mathematical problem. Sometimes you get these action sequences that you read and go, 'Oh my God, this is huge, how do I do it?' and I go, 'Just a step at a time. Sit down and plot each piece of it out.'
I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.
Animation story boarding works differently than live action story boarding. The story crew along with a writer really does shape and create the film - the world and it's characters. We meet almost every day and brainstorm the plot of the film. It's a highly collaborative process - and we continue to improve the story until we literally run out of time.
I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
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.
I detest the word plot. I never, never think of plot. I think only and solely of character. Give me the characters; I'll tell you a story-maybe a thousand stories. The interaction between and among human beings is the only story worth telling.
Plots are artificial. Does your life have a plot? It has characters. There is a narrative. There's a lot of story, a lot of character. But plot? Eh, no.
I can understand how technologically advanced action has become in our movies, but unless there is emotion or a strong story, it doesn't work. With every action sequence, there must be an emotion to justify it.
The hardest thing about movie acting is that if you're playing a character who changes within the movie, you've got to do that, but you've got to do it out of sequence, because we never have gotten to shoot in sequence, and that's really, really tough.
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