A Quote by Ira Sachs
Suspense films are often based on communication problems, and that affects all of the plot points. It almost gives it kind of a fable feeling.
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I know from the past, critics often say my films don't have any plot, that kind of thing. I'm used to being told, "Yeah, it's slow and has no plot."
As writers and readers, we're drawn to conflict. It's that ancient theory of plot that's written on the whiteboard during every fiction workshop, characters who want something overcoming obstacles as a way to create narrative momentum and suspense. So there's that, that trauma gives us more plot.
The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.
They call it collective energy. It's that same feeling that you get when you meditate amongst a ton of people. What actually makes the festival feel so special is that while you're watching a band or an artist, you're standing there, kind of feeling the same feeling with so many people in such a small space and that gives you collective energy. It's that kind of strange feeling in which you almost feel people breathing.
A lot of cop shows, because they have the restraints of having a new case every episode, the victims often become these kind of nameless, faceless plot points, and as an audience we don't feel anything for those people.
While problems in a film are fairly easy to identify, the sources of those problems are often extraordinarily difficult to assess. A mystifying plot twist or a less-than-credible change of heart in our main character is often caused by subtle underlying issues elsewhere in the story.
"Free markets" is a very general term. There are all sorts of problems that will emerge. Free markets work best when the transaction between two individuals affects only those individuals. Most often, a transaction between you and me affects a third party. That is the source of all problems for government. That is the source of all pollution problems, of the inequality problem. This reality ensures that the end of history will never come.
For kind of sophisticated art I'm interested in, the larger structural rebuke has to be so subtle that it has to be distributed at an almost sub-atomic level. Otherwise, you fall into the kind of preachy, moralistic fable that I don't think makes for good literature.
The Fable story hinted at a dramatic time before 'Fable 1' when the Guild was founded, this would be a perfect setting for 'Fable 4.'
We've got plans for 'Fable' III, IV, and V. It's a big story arc, and if you play Fable II, you'll recognize things from 'Fable I.'
Fame can be very disruptive. It can be like a drug. It gives you the feeling that you're happy, it gives you the feeling of self-importance, it gives you the feeling of fullfilment; but it can distract you from what is really important.
I love Sam Raimi. 'Evil Dead 2' is one of my favorite films. It's one of the best cheaper horror films I've ever seen. Horror films and suspense films can be made on a low budget without big stars and be very effective.
In silent films, quite complex plots are built around action, setting, and the actors gestures and facial expressions, with a very few storyboards to nail down specific plot points.
In silent films, quite complex plots are built around action, setting, and the actors' gestures and facial expressions, with a very few storyboards to nail down specific plot points.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
Playing on turf affects everything, you know, it affects the way the ball rolls, it affects the way the ball bounces, it affects the way you think about whether or not going into a slide. It's kind of a nightmare.
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