Top 145 Pacing Quotes & Sayings - Page 2

In the clubs, the entertainment and the restaurant business are at war with each other. You get crowds that are not the greatest, and it becomes like a babysitting job, rather than doing what you want to do. I have a more deliberate pacing in my act, and having a half interested audience is death. They have to hear what I'm saying for it to pay off.

Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of 'What is in this room? What is the shot? Who are the characters? What is the conversation here?' My sense of pacing is very filmlike, it's not musical.

If you watch a lot of television, the pacing, the quick cutting is so frenetic, but it doesn't always make it funnier. What I'm noticing is that when things are allowed to unspool more slowly, younger crowds really like it. They really appreciate it.

If you're writing a thriller, mystery, Western or adventure-driven book, you'd better keep things moving rapidly for the reader. Quick pacing is vital in certain genres. It hooks readers, creates tension, deepens the drama, and speeds things along.

All these years later, I have almost no memory of the shows themselves. It's a blur. I remember my jogging runs better - that was my way of getting my energy together. I used to try to get to the arena as late as possible; otherwise, I'd just be pacing around, waiting to go on.

Making comic adaptations means making a lot of choices - you need to adjust the pacing, the dialogue, and in this case, a lot of the cultural references.

Through music you can become sad, joyful, loving, you can learn. You can learn mathematics, touch, pacing... Oh my God! Ooh... Wow... You can see colors through music. Anything!

Warwick Davies is a cracking actor. The opening scene in the last 'Harry Potter' film, where he plays a captured Griphook, is mesmerising. His pacing is sublime, and the menace and regret he builds into the scene is fantastic.

And what exactly is nature walking? It's any and every kind of walking you can do in the natural world. The activity encompasses strolling, striding, sauntering, stepping, treading, tramping, traipsing, traversing, rambling, roving, roaming, racewalking, hiking, meandering, wandering, wending, pacing, peregrinating, perambulating ... in natural surroundings.

If I were writing an article for the newspaper, it would be thesis statement, information, information, supporting arguments. That would be the setup. When I'm making a documentary, the pacing of the film and the way that you sort of switch from character to character - all of those are more about storytelling than straight journalism.

The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.

With a mini series you can give the story a proper sense of pacing, a proper sense of closure.

Dr. Keller begins pacing. "I don't think we've been hearing Faith just right. Her guard...the words..they sound alike." What do you mean?" Your daughter," Dr. Keller says flatly. "I think she's seeing God.

Endurance involves much more than putting up with a situation; Patient Endurance is more than pacing up and down within the cell of circumstance. True Enduring represents not merely the passage of time, . . . but the Passage of Soul.

In most countries, it is possible to visit zoos and see bored animals pacing back and forth in cages, with nothing to do but wait for the next meal. Circuses are even worse places for animals. Their living conditions are deplorable, especially in travelling circuses where cages have to be small so that they can go on the road.

Playing '10,000 Days' in concert was very challenging but infinitely rewarding. It's much more sensitive and emotional than our other songs, and it requires pacing yourself and also being very vulnerable.

We live in a zoo, and we get to share all our animals with the people who come in. We really put our animals first, and then the staff, and then the visitors. The animals aren't pacing; they're all happy. When you touch an animal, it ultimately touches you.

Alafair Burke understands the criminal mind. Long Gone is both an education and an entertainment of the first order. This is a very clever and very smart novel by a very clever and smart writer. The dialogue crackles, the plot is intriguing, and the pacing is perfect.

There's a rhythm to script [ in "I Don't Feel at Home in This World Anymore"], as well, especially the pacing of it. But there definitely were times when I would say something and [ Macon Blair] would say, "I didn't think to deliver it like that" or, "I didn't think it had that meaning." And he'd say, "I like it. I think it's good." So he's open. He's not battering it into you.

You feel it in there, pacing your heart sometimes, and it has what's called a defibrillator. Should I suffer that arhythmia, it's generally sudden death. And the paddles that are internal shock you back and restore your rhythm to its normal and natural state.

So it's one of those things where we have to - our problem is pacing ourselves and still reaching a large enough number of our audience. Because we don't want to burn the audience. And we don't want to be excluding anybody.

Pretty much at the age of 16, I realized acting wasn't going to be the vocation for me...too political not enough creative control. But I loved the craft and my father wanted me to get a college degree. Seemed natural to study what I loved and Marymount Manhattan has a wonderful theatre program, I highly recommend it! A lot of what I learned there I apply to my comicbook writing and pacing.

Certainly my films are cinematically unusual, and quite contemplative in their pacing compared to conventional films, but I think overall they are quite engaging, accessible, and even funny.

I wish I could say confidently that pacing remains my weak point, if you could talk about your own stuff without sounding like you're self-obsessed. But I think you kind of have to be.

When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.

Great directors can understand the staging in such a way that can make a scene come alive. Others have a certain way of pacing the scene.

Maberry is a master at writing scenes that surge and hum with tension. The pacing is relentless. He presses the accelerator to the floor and never lets up, taking you on a ride that leaves your heart pounding. It's almost impossible to put this book down. Dead of Night is an excellent read.

My natural tendency is to fall in love with language and character and setting, and kind of forget about pacing. Narrative tension doesn't come naturally to me, and if it does feel fast-paced that makes me incredibly happy.

We'd be working in our motel room through the night, and I'd come up with an idea at two in the morning, and he'd start jumping up and down, pacing across the room, or whatever.

I'm not 100% sure 'Rebecca' qualifies as a thriller, given it's three parts screwed-up love story and two parts ghost-story-without-a-ghost, but the mystery at the heart of the novel is what happened to Maxim's first wife, the eponymous Rebecca, and it's unravelled with the pacing and finesse of the finest psychological thrillers out there.

I feel that Pride and Prejudice is an incredibly well constructed novel on every level. The dialogue is great. The character development is great. The plotting is great. The pacing is great. The language is great.

After I work with my editor to get the manuscript in good shape, I sketch and lay out a whole book loosely, usually in black and white. You learn things about your text when you have to think about pacing and page-turns.

Have you ever heard a good joke? If you've ever heard someone just right, with the right pacing, then you're already on the way to poetry. It's about using words in very precise ways and using gesture.

I see everything visually. It's very visual for me. And so I think, from a plotting standpoint or what have you, there's obviously a certain amount of internal thinking that goes on in a novel (that) you can't do...in a screenplay. But I think, pacing wise, my novels move quickly because (they aren't overly) descriptive.

But it isn’t a rough draft either. The one I turned in several months ago was rough. There were some bad plot holes, some logical inconsistencies, pacing problems, and not nearly enough lesbian unicorns.

I'm a 'frotteur,' someone who likes to rub words in his hand, to turn them around and feel them, to wonder if that really is the best word possible. Does that word in this sentence have any electric potential? Does it do anything? Too much electricity will make your reader's hair frizzy. There's a question of pacing.

Every time I got 'Amazing Spider-Man' or 'Fantastic Four' or another book firmly on the rails, we got pulled into some big event book or crossover and it cost momentum and messed badly with the pacing and structure of the book.

When you tell a story, there are imperatives of structure, of style, of pacing and all of this, that are there simply because you want to make it a good story. When do you introduce your characters? When do you put them onstage, when do you take them off the stage? How do you weave the different threads of the narrative together?

Comic-strip artists generally have very modest ambitions. Day to day, we labor to fit together all these little moving parts - a character or two, a few lines of dialogue, framing, pacing, payoff - but we certainly don't think of them adding up over time to some larger portrait of our times.

I waste at least an hour every day lying in bed. Then I waste time pacing. I waste time thinking. I waste time being quiet and not saying anything because I'm afraid I'll stutter.

One of the qualities of writing that is not much stressed is its problem-solving aspect, having to do with the presentation of material: how to structure it, what sort of sentences (direct, elliptical, simple or compound, syntactically elaborate), what tone (in art, "tone" is everything), pacing. Paragraphing is a way of dramatization, as the look of a poem on a page is dramatic; where to break lines, where to end sentences.

They say I'm young, but my purpose is the inspiration of a nation, innovation 'till I change the talk into a conversation. I'm like a doctor and my patients are anxiously waiting; healing all the hatin' that fakin' in the paper chasing. It's hard to live up to these expectations that I'm facing, and gain the admiration of an older generation. That's why I'm pacing back and forth, contemplatin' mediatatin', how to use what I've been taught is a positive force.

Baseball shaded my entire outlook on life, because that's how I first saw the world. I looked at everything, even today, through what I learned about the game. Like pacing yourself, focusing yourself, preparing yourself for what you want to do, keeping yourself healthy for the game. I do all that through the eyes of a ballplayer.

In general, I don't really think too much about pacing, myself. You kind of look at each script and what each script demands.

There's no real rules about what you do [while directing]; it's just you just use your instincts as to the pacing of a film and what is repetitive and what is the minimum amount you can get away with to tell the story, that scene didn't make it in.

I would say auditioning was my real training ground. The technical aspects - like hitting marks and pacing yourself and preparing and dealing with the downtime - the first recurring role I had on 24 was probably the way I learned that stuff.

Full Frame is where I had the first showing of my first film, 'Street Fight.' I have a fond memory of pacing around outside the theater, nervously trying to keep from throwing up. It's a magical festival, well curated, with a warm and generous spirit.

There's a certain pleasure in violating the strictures of your education. The trick is, if you're going to explore ideas in a poem, to be suspicious of ideas and suspicious of your own mind at the same time. It's often a matter of orchestration and pacing. Of shaping some kind of dialectic flow.

The fiction writer has a lot of balls to juggle. Setting, pacing, dialogue, and so on. And let's not forget: plot. That was always a hard one for me. And I always had this spastic tendency to wrap up a story before I'd seen it the whole way through, a sort of writer's pre-ejaculatory tendency: "The End!"

First scenes are super-important to me. I'll spend months and months pacing and climbing the walls trying to come up with the first scene. I drive for hours on the freeway.

But I do think that, when you slow the conveyor belt down, the quality control tends to go up. You have a lot more time between seasons to talk about what worked and what didn't work, and plan for the future. And the pacing of the storytelling, particularly for on-going serialized dramas, means that you don't need to do non-essential episodes, just because you have to fill this pre-existing schedule.

One of the things I admire about longer stories is the way writers can work with dead time and slower, more idle moments - not only can they feel expansive, they feel lived-in; the unhurried pacing often makes the endings even more resonant and surprising for me.

I am a very firm believer in Cody Rhodes. I think he is fantastic, an absolute superstar. Unbelievable in the ring, great timing, great pacing - he's in great physical conditioning, can cut a heck of a promo, and just an all-around good guy.

There's a certain kind of motion and pacing that our music has, and this just doesn't have that. We just kind of rushed to the conclusion of most of the songs. I just would've preferred to done them over.

I always think that the writer is doing the vast majority of the director's work, in a sense. If you're a writer who is also going to direct, you're doing all your preparation: You're already visualizing everything, you're imagining how the lines are going to be read, you see the blocking in your head, and you know the rhythm and the pacing.

I try to tell a story the way someone would tell you a story in a bar, with the same kind of timing and pacing.

It's no good pacing up and down. It won't make the plane arrive any faster. Just sit down and accept that we're delayed. You're just making a fool of yourself.

She wished she could understand her reaction to him. Why, her heart was pacing a wild beat again. Madelyne dared a quick look up and found Duncan was watching her intently. He looked so handsome. She wanted him to be ugly.

What I responded to, on the page, was the way a poem could liberate, by means of a word's setting, through subtleties of timing, of pacing, that word's full and surprising range of meaning. It seemed to me that simple language best suited this enterprise.

The corncob was the central object of my life. My father was a horse handler, first trotting and pacing horses, then coach horses, then work horses, finally saddle horses. I grew up around, on, and under horses, fed them, shoveled their manure, emptied the mangers of corncobs.