Quotes About Plot

The first season of a show is kind of like an extended pilot. You're only really on the map if it goes a second season.

I always design a landscape with fixed horizons whether it be mountains or a stone wall around a 20-foot-square plot.

I don't want to be Batman. Let Val Kilmer do it. I just want to be Uncle Batman. I have this whole 'warm relationship' plot in my mind. In the final scenes, the new Batmobile breaks down, the new Batman's stranded on the side of the road. We grab our old Batmobile, pick him up and drive away.

Maybe I should have taken a few chances. That's not to say I want to go make 'Star Wars', but I need to shift my career into the studio world. That's where my head was at when I thought of the original plot.

Plots are for dead people.

Cliffhangers are a lot of fun, but I think they can be easily abused if you're not careful.

Unless the story line carries the scenes, the scenes don't really mean anything.

There's some central relationship in every movie, and that's what stories are.

Nothing can ever be a rule in drama, because then you're saying certain things won't ever happen, and that would be very boring.

We start with strong characters and build the movie from there. That not to say we don't struggle with story - that's the most challenging part.

Every actor chooses their story at the beginning.

I did a show called 'Lois & Clark' - it was about Superman - years ago. They wanted someone to play the president of the United States. The plot was the president got kidnapped by a group, and they made a clone of him, who was very irresponsible and silly.

I get up at 7:30. I grab a canvas bag and go out. I say hello to the people in the supermarket and liquor store. I buy the 'New York Times.' I go to the beach and think about characters and plot.

In 'The Grandmaster,' I had a supporting role, but my character in 'The Crossing' is much more central to the plot.

The time has mainly gone on getting Inform into a decent shape for public use. I suppose the plot of 'Curses' makes a sequel conceivable when compared with, say, the plot of 'Hamlet' but none is planned.

I've always figured the only way I could finish a book and get a plot was just to keep making it longer and longer until something happens - you know, until it finds its own plot - because you can't outline and then fit the thing into it. I suppose it's a slow way of working.

I write fast. But it takes me a while to get going. It's very important for me to see my whole plot. I have to see the end first because I like a surprise in the end. Which is why I let characters and plot gestate in my mind.

The audience today has heard every joke. They know every plot. They know where you're going before you even start. That's a tough audience to surprise, and a tough audience to write for. It's much more competitive now, because the audience is so much more - I want to say 'sophisticated.'

Every so often, you want to map out your plot mythology but never so specifically that you can't let a story surprise you. You want to allow the type of action of the writer's room so that you have the ability to take a left turn.

An important part of any good mystery story like 'Original Sin' is that it's not just a game of 'Clue' with surprise after surprise after surprise, but the goal is to tell a story in the midst of that. Even once you know the solution to the mysteries, it's far from the whole story.

When I watch television, I want to be surprised.

When the narrator says, 'This is a story without surprises,' most of the time, this is not what happens.

What I love is that 'Game of Thrones' is always up for surprises.

Even with a stable character, you want something surprising to happen, hopefully because that's what the camera loves the most. That's what is great about film.