Quotes About Climax

The drama can only be brought to its climax in one of two ways -- through the selective brutality of terrorism or the impartial horrors of war.

Is this a tale of insanity or great heroism? You won't know until the very last page.

Music is much like fucking, but some composers can't climax and others climax too often, leaving themselves and the listener jaded and spent.

That's the way it ends. The thin edge of the wedge.

In the classic successional course, each suite of plants replaces its predecessor, until the arrival of the final, "climax" ecosystem, usually tall forest.

When you're reading a book, you're always looking for the natural place to stop. With a movie, you can't really have that sense of it coming momentarily to a halt; there's pressure to keep the momentum up.

The most important thing is how the season ends.

I love my stories being multi-layered, and coming at it from different angles, so that you don't understand the film's true emotional motivation until the very end.

There is an art to the building up of suspense.

Inevitably linked with the moment of climax, there is a minor rupture suggestive of death; and conversely the idea of death may play a part in setting sensuality in motion.

I always read the last page of a book first, so that if I die before I finish I'll know how it turned out.

I was reading stories by Raymond Carver and some of his stuff sort of ended abruptly here and there, where in other short stories that I've read have a bit of an ending, a climax, a twist or something like that.

I've always believed that a good twist is one that, when it is presented to the audience, half of them say, 'I saw that coming.' And half of them are completely and totally shocked. Because if you don't have the half that saw it coming, then it wasn't fair: You never gave the audience a chance to guess it.

When you're telling taut, tight storytelling that has any kind of built-in plot twist elements, you tend to want to stack everything up on top of itself as opposed to letting things breathe and be languid in terms of the passage of time.

When I'm writing, I won't know whodunnit until maybe two thirds of the way through. Until then, I know as little as my detective. I just make it up as I go along. It's nerve-wracking, actually. You'll be half through and not know your conclusion. You worry one of these days the ending won't come. I'll be left with only two-thirds of a novel.

Generally my typical books have lots of twists and turns a big surprise ending and then usually another surprise at the end and ideally, as in Garden of Beasts, we get to the very end and we find at the last few pages that there's yet another surprise.

You have to go to the ultimate situation in drama.

To tell a story, you have to set up your characters, introduce the dramatic premise (what the story is about) and the dramatic situation (the circumstances surrounding the action), create obstacles for your characters to confront and overcome, then resolve the story.

his heart ruptured or broke in response to infinite suffering, then the fact that it happened on the cross, not in the Garden, would suggest that the cross may indeed have been the climax of his universal suffering.

I think the '70s was a very special time. Melodies and rhythm ruled as dancing climaxed.

our mission is nothing less (or more) than participating with God in this grand story until he brings it to its guaranteed climax.

Art can be thought of as a form of visual foreplay before the climax.

All the rest of the nonsense a story requires is just a long seduction of the ending.

Stupid people sometimes complain that there is no sex in Austen's novels. In fact, they are driven by the oceanic force of suppressed female desire, which dwarfs any opportunity for enactment. Actual sexual intercourse is the off-stage climax of the Austen novel. The possibility that defloration may be an anti-climax is to be found in the tingling ironies that cling to every word that Austen writes.