I was nervous when I first started True Blood because if you do a play or a movie, you know the complete arc of the character. You can see the end. But with a show like True Blood, you don't know what's going to happen.
The arc of the celebrity phenomenon ultimately is: everything turns to dust and everything does go away.
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.
As an actor, you don't want to know the beginning and end to your character's arc. It makes it more fun. You're not playing the end. You're playing it realistically. You don't know where this character is going to go and what's going to happen to him, which just makes it more interesting for the viewers to watch. They're going on the journey with you, as the actor and the character.
I have felt over the years a definite progression or arc from feeling guilty about what I had done with the first one [film], because certainly there was all that fundamentalist guilt that came pouring back in.
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.
A writer's job is to cultivate what can go wrong. You're always looking for that dramatic arc of where things can fail.
Even though 'Glee' is sometimes a hard road, I am very excited about writing a multi-year arc.
It's the same kind of preparation you do for something like this you do for anything. It doesn't matter if it's a drama or a comedy, the need to get the emotion and the character arc across is way harder in something like this so was more of a preparation.
Most games follow a real railroad plot, no matter what you want, you're following their storyline to its unavoidable conclusion. I'd like to write a game where your character can follow any number of possible story arcs and sub-plots.
I would never be essentialist about sexuality and structure, but I do think there's a way in which this male-arc has been talked about as the only structure, and kind of a stand-in for even the word structure, instead of looking at other forms.
I don't really distinguish between a fictional hero and a real life hero as a basis for any comparison. To me, a hero is a hero. I like making pictures about people who have a personal mission in life or at least in the life of a story who start out with certain low expectations and then over achieve our highest expectations for them. That's the kind of character arc I love dabbling in as a director, as a filmmaker.
It doesn't matter if it's a drama or a comedy, the need to get the emotion and the character arc across is way harder in something like this so was more of a preparation.
A single thread of self generation ties the cosmos, the bios, and the technos together into one creation. Humans are not the culmination of this trajectory but an intermediary, smack in the middle between the born and the made... The arc of complexity and open-ended creation in the last four billion years is nothing compared to what lies ahead.
Plotting is difficult for me, and always has been. I do that before I actually start writing, but I always do characters, and the arc of the story, first... You can't do anything without a story arc. Where is it going to begin, where will it end.
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.
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.
As an attorney, I assure you the law isn't a line engraved in marble, immovable and unchangeable through the centuries. Rather the law is like a string, fixed at both ends but with a great deal of play in it very loose, the line of the law so you can stretch it this way or that, rearrange the arc of it so you are nearly always short of blatant theft or cold-blooded murder safely on the right side. That's a daunting thing to realize but true.
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.
History's long arc is different than the today's headlines.
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.
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