A Quote by Sidney Sheldon

What I do is put my characters into situations that are so precarious there is no way to get out. And then I figure how to get them out. — © Sidney Sheldon
What I do is put my characters into situations that are so precarious there is no way to get out. And then I figure how to get them out.
You can always figure out how to deliver things in somewhat controlled situations, but when you start to get into the reality of the market you start to figure out what isn't going to work.
I think television is about the characters you want to see again, and so you want to invite these people into your home. And certainly, seeing them get into bad situations and then watching them have to get themselves out, that's always super satisfying.
There's a sense you get from the Coens' work, like 'No Country for Old Men,' where you put these characters in situations, and you just let this painful amount of time take place. Part of the tension is just how long it takes to get out of that scene.
The only time I get frustrated with activist criticism is if I have recognized them, and invited them to work with me to figure out how we solve this problem that they're concerned about, and either they don't engage out of the sense of purity - "I'm not going to shake his hand" - or you're not sufficiently prepared so you don't even know what to ask for, or you're not being strategic as an activist and trying to figure out how the process has to work in order for you to get what you want.
I have a scenario but almost always it's entwined with at least one person to begin with. Then I sort of expand from there and I'm thinking about books novels. I've got these scrolls of paper that I hang up in my office and this is my idea room, my nightmare factory, and I have a big title at the top of the scroll and on the left hand side I have these character sketches on the characters, and then once I figure out who they are I can figure out what they want and once I figure out what they want I'm able to put obstacles in the way of that desire, and that's where plot springs from.
Figure out what you want, how you want to feel, whatever your motivation is, you have to figure it out. That's step one: where do you want to be? The next thing is just trying to get there and cutting yourself some slack along the way. You're going to have days when you veer off your path, then just get right back on. We all have cheat days, holidays, or celebrations, whatever or period when we can't work out as much as we like, and just do the best you can and when you can get back on track, get back on track.
You can put my dad in any situation and he's going to figure it out. He's going to figure the people out and how to get along, how to make everyone comfortable.
Figure out what you love to do, then figure out how to get paid to do it.
First you find out what you have, Dad would say. Then you figure out how to make it work for what you need, 'cause you don't get what you want. You get just what you have and no more.
When I start writing a new imaginary future, I have no idea what it is. The characters arrive first. They help me figure out where they are living and I get to fill in the gaps with that and where we are. So when I get to the end of the process of composition, if I feel that I have really done my job, I have no idea what I've got - and I then spend essentially the rest of my life figuring out what it might mean.
I suppose everybody does get attached to characters whether in movies or in stories, but I think that's part of the reason you get involved with literature is because there's somebody that grabs you about it and then you want to figure out why.
Fighters used to be afraid of the Russians, Cubans but then I'd figure them out and figure out how to beat them.
Marvin Gaye said there's a song inside of me and I can't get it out. And I know it's in there, and I can feel that it's in there, and I can't get it out. There's so much that I want to say, and I haven't been able to figure out how to say it in my art. I can only say it in ham-fisted, clumsy, nonpoetic ways, and I'm trying to figure out how to talk about life and talk about love and talk about pain and trials and tribulation in an artistic form.
Because if you're prepared and you know what it takes, it's not a risk. You just have to figure out how to get there. There is always a way to get there.
I miss that moment when you're about to go through the tube turn-style but you put your ticket in the wrong way and then as you're trying to figure out how exactly to get in the damn station you hear a collective sigh of 40 people behind you pissed that you're slowing down the herd.
Figure out what depletes you creatively and get it out out of your life. (This doesn't apply to spouse and kids.) Give yourself permission to put garbage on the screen. A lot of days it's the only way you'll be able to keep going. You can clean it up later.
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