Quotes About Arc

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.

There's an arc to an action sequence, and you need to come out the other end knowing your character better, and maybe the story has moved forward in a compelling way.

It's a real challenge to complete a story arc and end up with a cool punchline in 120 characters.

'Macbeth' sags in act four - the England scene with Malcolm and Macduff just doesn't work theatrically. But with 'Hamlet,' although the play is so long, Shakespeare manages to sustain the arc.

My first job was a commercial for a Swiss insurance company. It was an eight-minute short with a proper story arc, and it ended up getting a spot at Cannes Lions; I was lucky to avoid the commercials where you're their puppet.

The technology that made possible long-distance pipeline construction was electric arc welding.

Incarnation did not just happen two thousand years ago. It has been working throughout the entire arc of time, and will continue. This is expressed in the common phrase the "Second Coming of Christ," which was unfortunately read as a threat ("Wait till your Dad gets home!"), whereas it should more accurately be spoken of as the "Forever Coming of Christ," which is anything but a threat. In fact, it is the ongoing promise of eternal resurrection.

I think the context of the era was still really important for Daphne's character arc, so I wanted to get all of that right.

The joy of 'Crash' was that it was all about the work. It was my first real part. Before that, it was a line here and there, maybe a scene. 'Crash' was five scenes, a beautiful arc, a little vignette of my own. It really meant something.

I've had such an incredible arc, so it made sense to me, creatively, that we've told Laurel's story. It has come to an end in the 'Arrow'-verse.

I recently did a play, Athol Fugard's 'Coming Home' at Long Wharf Theatre, where I played one character throughout - I sat at a table and didn't have any costume changes. Following one character's arc from beginning to end is a whole different mindset.

He strolled over to the refrigerator, opened the door with one paw, and delicately picked up a beer between his teeth. He waited until clothes had stopped arcing through the air and hand it to Barbara.

Napoleon-commissioned Arc de Triomphe.

It is a unique and terrible privilege to witness the entire arc of a life, to see it through from its inception to its end. But it is also an opportunity to love without a net, without the future, without the past, but right now.

California is the end of an arc constructed over the dead who resisted it: all dreams, especially the terrible promise of an American one, seek a port, a jumping-off place, palms, ocean, a final stop. Do you fall back in earnest on the pop adage that anything is possible here? Come, and disappear.

I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.

I prefer working, period. I think that I like doing film more just because when you get a script, you have the story from start to finish, so you can really find the character's arc, and when you walk away from it, you know you're sort of powerless to what happens.

A "neurobiological" or "genetic" or "developmental" explanation for a behavior is just shorthand, an expository convenience for temporarily approaching the whole multifactorial arc from a particular perspective.

What's great in theater is that you can sustain the arc of a character for a full three hours, whereas in film or TV, you have to create that arc in little pieces, and usually out of sequence.

The great thing about being an actor in a film is that you're able to start knowing exactly where you're going to finish and really paint something in between. You can work to know the arc you need to build. Whereas in television, it is open-ended, and you're constantly guessing. There are pros and cons to both.

I think it helped that 'Fleabag' had such a dramatic arc to it, even though it was disguised as a comedy.

When you're making a television show, it's about the story and arc of the show rather than any particular episode or director.

The ability of an audience to enter into the narrative arc of a movie is being lost; do today's audiences have the patience to wait for Harry Lime in The Third Man?

A horse which stops dead just before a jump and thus propels its rider into a graceful arc provides a splendid excuse for general merriment.