Quotes About Plot

I really like revenge movies.

No actor can rise above the script of the film.

You can take risks with the characters and their development in a standalone novel.

You can't make an action movie without action, and so, you can't make a romance movie without romance.

That was all Rose, and Rose knew what she was doing. Her main thing was story.

The TV schedule is essentially four or five days to get in touch with the story you're doing that week.

When you're writing for a show, you're writing part of the script. You have to tell the story.

You can dress it up, but it comes down to the fact that a movie is only as good as its script.

You have to look for story. That's obvious. If that's not on the page, you can forget it. But I also read whatever character I'm being offered. And if you can cut them out without it affecting the story, then I say no straight away.

In a revolution, as in a novel, the most difficult part to invent is the end.

I think a story should take as long to tell as it is appropriate to that particular story.

Partnerships are good engines for narrative.

I've always been a fan of the 19th century novel, of the novel that is plotted, character-driven, and where the passage of time is almost as central to the novel as a major minor character, the passage of time and its effect on the characters in the story.

The trial has at any rate proved', The Times correspondent continued, 'that to plot against the constitution of the Reich is not considered a serious crime in Bavaria.

I have been sometimes way too attracted by my own villains because in a way they seem to hold the secret to the heart of the narrative.

vague anti-semitism developed into fully-fledged hatred, derived from specious and elaborate notions of Jewish conspiracy such as The Protocols of the Elders of Zion. Translated by V.E. Marsden, correspondent of the Morning Post, the book purported to prove the existence of an age-old Zionist plot to take over Europe; in fact, it was an invention of Tsarist secret police in Russia, a 'farrago of nonsense' given plausibility by the events of the First World War.

I have to hand it to you people. Three attempts to kill Hitler in as many weeks and all of them botched. You would think that a group of senior army officers would know how to kill one man. It's what you're supposed to be good at, damn it. None of you seemed to have any trouble slaughtering millions during the Great War. But it seems beyond any of you to actually kill Hitler. Next thing you'll be telling me you were planning to use silver bullets to shoot the bastard.

The movies are all about visual, and television is all about character and dialogue.

When I watch a movie I don't really care too much about the plot - not that it isn't important, but what I remember is the visual imagery, something that happens in an individual scene.

Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character - even its films, it's argued, fall well short of that true desideratum: entertainment.

There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the overall feeling.

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.

A volume of stories, bereft of continuity in plot and character, is often unified only by the writer's obsessiveness.

In the U.S. - and elsewhere - successful parties need a storyline that voters can relate to, an intelligible plot of some sort, especially now that so many older, formal ideologies have lost force. For proof of this, one has only to look at Margaret Thatcher's career and ideas.