Plot Quotes

I'm very close to my family. Not like these big stars - not mentioning any names - who lose the plot and don't know who they are.

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.

Sometimes I'll hear a phrase or a word and write it down in my little black notebook (a writer's best mate), then come back to it and work a plot around it.

I plot the first 5 or 6 chapters quite minutely, and also the end. So I know where I am going but not how I'm going to get there, which gives characters the chance to develop organically, as happens in real life as you get to know a person.

Mysteries and thrillers are not the same things, though they are literary siblings. Roughly put, I would say the distinction is that mysteries emphasize motive and psychology whereas thrillers rely more heavily on action and plot.

Time, in general, has always been a central obsession of mine - what it does to people, how it can constitute a plot all on its own. So naturally, I am interested in old age.

In order to have a plot, you have to have a conflict, something bad has to happen.

I began to be impressed by what made a good book-how you needed to have a sensible story, a plot that developed, with a beginning, a middle, and an end that would tie everything together.

Once you have invented a character with three dimensions and a voice, you begin to realize that some of the things you'd like him to do to further your plot are things that such a person wouldn't, or couldn't, do.

If the audience never understands the plot, it can be counted on to be attentive to the very end.

I'm obviously very keen on the theater and I think it's inevitable that some of the orchestral and chamber pieces have got dramatic elements which might even suggest an unspecified dramatic plot of some kind or other, even though it's not in my mind at the time.

I enjoyed doing the gag covers better than the story ones because they were usually simpler. A cover based on an incident in the plot took a great deal of staging to tell a little story that was still part of the book. And it had to make sense on its own.

Normally you read a screenplay - and I read a lot of them - and the characters don't feel like people. They feel like plot devices or cliches or stereotypes.

Wake the power within thee slumbering, trim the plot that's in thy keeping, thou wilt bless the task when reaping sweet labour's prize.

You can't build a plot out of jokes. You need tragic relief. And you need to let people know that when a lot of frightened people are running around with edged weaponry, there are deaths. Stupid deaths, usually. I'm not writing 'The A-Team' - if there's a fight going on, people will get hurt. Not letting this happen would be a betrayal.

We must clearly see that international hostile forces are intensifying the strategic plot of Westernizing and dividing China, and ideological and cultural fields are the focal areas of their long-term infiltration.

The Carrie in the plot was too much like the Carrie in the book. She smoked, she swore a lot, she was very hard, very cynical. I could never have pulled it off.

When we try to push the envelope, there are certain sectors of society that say this is a Zionist plot to sort of destabilize our country, or this is an American agenda.

In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.

The cliches are that it's the most generic Starsky and Hutch plot you can find.

For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.

The beginning of a plot is the prompting of desire.

I don't care how good a song is - if it holds back the storyline, stalls the plot, your audience will reject it.

The thing should have plot and character, beginning, middle and end. Arouse pity and then have a catharsis. Those were the best principles I was ever taught.

So I work hard to present the human side of my characters while not neglecting the plot.

The pattern of a newspaperman's life is like the plot of 'Black Beauty.' Sometimes he finds a kind master who gives him a dry stall and an occasional bran mash in the form of a Christmas bonus, sometimes he falls into the hands of a mean owner who drives him in spite of spavins and expects him to live on potato peelings.

Some movies I see today have the most dramatic plot points but the actors are not playing them dramatically.

I try to trace the connection between the characters and that way a story or plot emerges.

It is scary for an actor when you get hired as a lead. No matter what the plot is, it is your job to do something interesting enough to make them want to get inside the lead character's head.

I've never sat down and thought about the difference between plot and theme. To me, that's never been important.