Top 1200 Plot Twists Quotes & Sayings - Page 14

Sometimes I worry that I've lost the plot My twitching muscles tease my flippant thoughts I never really dreamed of heaven much Until we put him in the ground. There is nothing as lucky, as easy, or free

Now that lilacs are in bloom She has a bowl of lilacs in her room And twists one in her fingers while she talks. "Ah, my friend, you do not know, you do not know What life is, you who hold it in your hands"; (slowly twisting the lilac stalks) "You let it flow from you, you let it flow, And youth is cruel, and has no remorse And smiles at situations which it cannot see." I smile, of course, And go on drinking tea.

Stand-up is just me trying to be as funny as possible in the most concentrated hour with me standing on stage with no storyline, no plot line, and no character development.

I shy away from plot structure that depends on the characters behaving in ways that are going to eventually be explained by their childhood, or by some recent trauma or event. People are incredibly complicated. Who knows why they are the way they are?

With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.

Life's generally artless ... but it does get these occasional hard-ons for plot. It connects things, nefariously, behind your back, and before you know it you're in the final act of a lousy movie.

The plot is so tired that even this reviewer, who in infancy was let drop by a nurse with the result that she has ever since been mystified by amateur coin tricks, was able to guess the identity of the murderer from the middle of the book.

The biographical novel sets out to document this truth, for character is plot, character development is action, and character fulfillment is resolution.

I think that the project of being alive is to be alive. So there will always be twists and turns and steps forward and steps back, but that's just your life. There is no sort of place at which to arrive, and I think that the more one focuses on an end point, the harder it is to get there. It's like the horizon, sort of ever receding, ever receding, ever receding.

If I had a plot that was all set in advance, why would I want go through the agony of writing the novel? A novel is a kind of exploration and discovery, for me at any rate.

The era of television in which I grew up was much simpler than now. Its conventions were quite transparent and fun to think about. Who could ever remember the plot of those shows?

Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.

I had to learn the image is not the word, which is a jolt for a literary soul. But it has served me well in terms of understanding plot, in terms of watching actors develop characters.

The writer asks himself, 'Can I think of a plot that will parallel this? Can I take this work of literature as an example of something I might produce?' Let us, then, consider literature as a productive science.

I've learned that in the theater the story is everything. Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.

I love developing children as characters. Children rarely have important roles in literary fiction - they are usually defined as cute or precious, or they create a plot by being kidnapped or dying.

The more films and TV shows I spoil for myself, the more I am convinced that truly interesting stories can't be ruined - the plot thickens with the viewing like a rich sauce.

yet it seems Life scarce can cast a fragrance on the wind, Scarce spread a glory to the morning beams, But the torn petals strew the garden plot; And there's but common greenness after that.

The whole of life is just like watching a film. Only it's as though you always get in ten minutes after the big picture has started, and no-one will tell you the plot, so you have to work it out all yourself from the clues.

Here's what I think is good about 'Ted Lasso' and what I'm proud of in it, as a writer: It's about kindness and teamwork and empathy, and being curious and not judgmental, but it does all of that through storytelling and plot.

Opponents of civil liberties contend the NSA data collection has made our country more safe, but even the most vocal defenders of the program have failed to identify a single thwarted plot.

I came to realize that far more important to me than any plot or conventional sense was the sheer directionality I felt while reading prose, the texture of time as it passed, life's white machine.

I think that the government has an obligation to monitor communications that could reveal a plot to murder millions of Americans. Monitoring bowel movements? I'll leave that to some of the gay bloggers, that's much more their style.

The one thing I would like more credit for is being part of a movement which involves recognising the importance of plot and asserting that books of literary worth could be written that had plots.

[In plotting earthquake measurements] the range between the largest and smallest magnitudes seemed unmanageably large. Dr. Beno Gutenberg then made the natural suggestion to plot the amplitudes logarithmically.

I love 'Curb Your Enthusiasm' and 'Extras' and also 'The Trip.' That had all the nuances of friendship and finding things out about their lives without it being too much plot-driven.

As for 'Great Expectations', it is up there for me with the world's greatest novels, not least as it vindicates plot as no other novel I can think of does, since what there is to find out is not coincidence or happenstance but the profoundest moral truth.

You go to the marketplace and there are seventeen consciousnesses moving in and out. Sometimes you want the same shirt that I want, and our thought bubbles collide a bit and that makes plot.

Science fiction is an amazing literature: plot elements that you would think would be completely worn out by now keep changing into surprising new forms.

Night Owls is a fast, fun read that kept me turning the pages. Lauren M. Roy delivers a plot that zips, dialogue that zings, and a cast of characters you'll cheer for to the very end. Thumbs up!

The process is different for every book, but there are similarities. I always draw from the inside out. I don't plot them ahead of time, and I'm always surprised by things that happen in my books.

The older I get and the more fiction I write, the more I outline, the more I think about plot before I dive in and plunge too far.

As much as most of the actors were kind of curious to know what their character meant in relation to the script and to the plot, they really were quite happy to be part of the adventure of not knowing.

Fanboys are a creator's blessing and curse. If a fanboy likes you, they love you. Obsessively. If you cross them with some plot point or story direction they reject, expect to be wholly and continually eviscerated across the Internet.

When I'm at the premiere and I see the film in its entirety, I forget plot, I forget the story, I forget what my character goes through, because I really do just let it go.

If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one's actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.

[Reviewing the New York City Telephone Directory] But it is the opinion of the present reviewer that the weakness of plot is due to the great number of characters which clutter up the pages. The Russian school is responsible for this.

[Gertrude Stein] really needed someone like Virgil Thomson, whom she respected, to sit on her a bit and make her devise some plot.

But short films are not inferior, just different. I think the short gives a freedom to film-makers. What's appealing is that you don't have as much responsibility for storytelling and plot. They can be more like a portrait, or a poem.

Writing for the theater is a whole different can of fish. The music now has the responsibility of so many things. The plot could be giving you different views of the character; the emotional highlights of a moment.

In comedy writing, a sitcom plot is basically the same thing: What's the worst thing that could happen? But you're playing it for comic effect. It's a similar muscle being used with Black Mirror.

I retain characters more often than plot, but what seems to happen is that I latch on to specific moments, turns of phrase, and dialogue as touchstones for me to recall what happened in the book. Kind of like freeze-frame.

To this day, I get rewrite offers where they say: 'We feel this script needs work with character, dialogue, plot and tone,' and when you ask what's left, they say: 'Well, the typing is very good.'

I was not the young heroic model for 'Hamlet.' I tended to play those characters that orbited around them: the rogues and the rat bags and the idiots and the fools and the clowns that sway the plot somehow from a tangent.

One of my fave TV shows is Into the Badlands because martial arts staged well and magically and saturated colours and eye candy and coherent plot and world building. It has a strong diverse cast.

Some people's lives seem to flow in a narrative; mine had many stops and starts. That's what trauma does. It interrupts the plot. You can't process it because it doesn't fit with what came before or what comes afterwards.

Is it possible Hanukkah doesn't inspire folksy songs? Plot lines may be a part. The Christmas story has a lot of material to work with. There's Jesus and his birth, the wise men, their gifts and tons of frankincense.

It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.

If, technologically, it is possible to make an impenetrable device or system where the encryption is so strong that there's no key - there's no door at all - then how do we apprehend the child pornographer? How do we solve or disrupt a terrorist plot?

Essentially and most simply put, plot is what the characters do to deal with the situation they are in. It is a logical sequence of events that grow from an initial incident that alters the status quo of the characters.

When you're watching a Hitchcock movie, you, for most of the movie, are playing the guessing game. What's the endgame? What's the plot? How are these people involved? It's the best way to tell the story, and as a viewer, that's what you want to experience.

If you are heartbroken and can't face the world, you need something with a fantastic plot. You won't be able to read anything boring because your attention span when you are heartbroken decreases by three-quarters.

While I was writing 'Elizabeth Is Missing' and struggling with the intricacies of the plot, I told myself the next book would be really simple and linear, and I'd have it all worked out before I set down a single word.

If your characters are two-dimensional and your plot uncompelling, it won't matter how incredibly detailed and believable your fantasy world might be.

though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him to till.

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 start 'The Code Book' with the story of Mary Queen of Scots and the Babington Plot, which was foiled when Mary's enciphered messages fell into the hands of Elizabeth I's codebreakers.

There's a stigma that guys hate romance and hate love, but that's not true. Look at 'Iron Man.' There's a whole through-line plot about his relationship with Pepper, and everybody loves it.

One of the issues with the fight scene - especially with actors - is that when the adrenaline gets going you lose the plot. Before you know it, you've hit somebody and you've hit them harder than you meant to.

If you let the plot be determined by what you feel is in the character's mind at that point, it may not turn out to be a very good play, but at least it will be a play where people are behaving in a kind of truthful way.