A man who took history in his hands, and bent the arc of the moral universe toward justice.
I just did an arc with Warren Ellis - and no one else on the planet could get away with this, because I think this is like harassment? - But Warren felt like there was a depiction of Spider-Woman where it looked like her waist perhaps didn't contain any internal organs. And he suggested very quietly ... 'You should fix that, or else I will come to your house and nail your feet to the floor and set your house on fire.' ... And it totally got fixed!
Today is one of those excellent January partly cloudies in which light chooses an unexpected part of the landscape to trick out in gilt, and then the shadow sweeps it away. You know you're alive. You take huge steps, trying to feel the planet's roundness arc between your feet.
Paralysis seems to happen on the steepest slope of the survival arc—where almost all hope is lost, when escape seems impossible, and when the situation is unfamiliar to the extreme.
The brilliant Schiller was wrong in his Joan of Arc when he said against stupidity the gods themselves contend in vain. It is actually by means of the gods that we make our stupidity and gullibility into something ineffable.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
If you're a novelist, you have sort of themes that run throughout novels. You start a novel and you finish a novel. With record-making in the singer-songwriter world or whatever it is that I do, it's a little different because there is no specific arc that is necessarily, like it's not a concept record.
I had to kiss Ruthie Henshall once with a cold. It was the final romantic moment in She Loves Me; as we separated, I noticed this arc of glistening mucus threaded between us.
We are living in complex, difficult times and I wanted Syriana to reflect this complexity in a visceral way, to embrace it narratively. There are no good guys and no bad guys and there are no easy answers. The characters do not have traditional character arcs; the stories don't wrap up in neat little life lessons, the questions remain open. The hope was that by not wrapping everything up, the film will get under your skin in a different way and stay with you longer. This seemed like the most honest reflection of this post 9-11 world we all find ourselves in.
Character is too deep to catch in a single storyline. What really moves us - what makes the great stories, and there aren't so many of them - is the inevitability of character. The destiny. All we see is the arc. We'll never penetrate the secrets of the living, let alone the dead. I've spent my whole life trying to understand people, and all I've learned is that the deeper we look, the greater the mystery. At the core, each person is unknowable. Maybe that's the soul? I have to respect that. The mystery, in fact, is what I've loved the most, in people and in stories as well.
Its really interesting working in television as opposed to the theater, where you know the arc of the character and you are able to create this whole backstory.
There are very few horror shows, where you have a long running arc. Most horror shows play as a sort of an anthology. Buffy - a terrific show - had the-demon-of-the-week. Twilight Zone - X Files - these things had an anthology approach. Our show is a long running drama with the same creatures every week.
We had some ups and downs, creatively, as the season went on, which is true of any show. If you compound that by the production that we go through, in terms of original songwriting and recordings, and all that is happening simultaneously, where we didn't do as good a job, as I hope we do this year, is the arcing of the storylines and the consistency of going in one direction with a character, and continuing in a really interesting way with that arc.
Well, in Twilight, I started out dying my hair blonde. And then, as the movie progressed, I wore wigs. The wigs went through a transformation. In Breaking Dawn, it's a little longer. That's my arc.
Is it a spiral of water in the tragic gleam of a revolver, an egg, a glistening arc or the floodgate of reason, a keen ear attuned to a mineral hiss, or a turbine of algebraic formulas? (On Man Ray's first photograms, 1921.)
Getting the audience to cry for the Terminator at the end of T2, for me that was the whole purpose of making that film. If you can get the audience to feel emotion for a character that in the previous film you despised utterly and were terrified by, then that's a cinematic arc.
The stories that I like to tell and the movies I like are always grounded in the emotional arc of the characters.
We are having the 100th anniversary of 2015 year of the first in the nation primary in New Hampshire. And these voters take their responsibility very seriously. They like to kick the tires. They get the most up close and personal look in the entire arc of the campaign at the candidates. And debates are time consuming.
I am committed now to one thing: lyric sequences. I want the intensity of lyric, but the scope and arc of narrative. so, I think I'll just write sequences for the foreseeable (the Beloved sequence doesn't have a 'plot' so I can just keep adding poems to it, it's like a giant bag I can just put beloved lyrics into - I think there are about 300 of them i've published by now).
The thing about writing in America is that writers in America have an arc. You enter writing as a career, you expect to be successful, and really it's the wrong thing. It's not a profession.
I think that sharpens the intention of a scene and clarifies a story's arc. Of course, I don't seek the questions until after I've written a scene - or maybe after I've daydreamed it.
I like to work with multiple sections because they lend themselves to the structure of the poem: its intensifications and arcs and closures. I feel like working with smaller units feels more natural to the way I write poems.
With my personal work I prefer not to work from storyboards because being a director, producer and animator in one person I don't have to communicate my idea to anyone else, I can keep the feeling of the story, the story arc and structure in my head.
The only way for white folks to reclaim the full arc of their humanity, the full trajectory of their ethical content, of their ethical identity, is to surrender the white innocence that prevents them from being fully mature.
The arc of my mind has an equal swing in all directions. I should say the same of your mind if I thought you would believe it. But we are so saturated with the notion that Time is a dimension accessible from one direction only, that you will at first probably be shocked by my saying that I can see truly as far in front of me as I can see exactly behind me.
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