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I'm not really a plot writer - I'm more interested in the characters and sort of small events that propel the story forward.
It was a basic plot in any number of her books: girl strikes out, makes good, finds love, gets revenge. In that order. The making good and striking out part I liked. The rest would just be bonus.
The one thing I would like more credit for is being part of a movement which involves recognising the importance of plot and asserting that books of literary worth could be written that had plots.
Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.
Your life will have chapters, complete with crazy characters, villains and a plot you can't even imagine as you sit here today. It's a lot like a Scooby Doo episode.
I really felt sometimes like I was physically pulling the plot, and it was heavy. I'm sure it didn't look great that I was going into my dressing room at lunch.
In a way, this kind of insight or recognition often permeates the way I think of character, how I plot action, and the way in which I use imagery, seeing binaries as false.
When I'm at the premiere and I see the film in its entirety, I forget plot, I forget the story, I forget what my character goes through, because I really do just let it go.
If Slater were someone else, Kevin would merely be the poor victim of a horrible plot. Unless he was killed by Slater, in which case he would be the dead victim of a horrible plot
Plot exposition that can be gently wound out by the authorial voice and internal monologue of a character in the length of a page has to be delivered in a matter of seconds on the stage.
The characters are the plot. What they do and say and the things that happen to them are, in a sense, what the plot is. You can't take character and plot apart from each other, really.
It's not the plot [of Valley of Violence] - the plot is the reason to get all these things to happen, all these character moments to happen. It was always meant to have these two perspectives.
With my horror movies or with this movie [Valley of Violence], same thing. The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.
I've learned that in the theater the story is everything. Every lyric, every line and every musical gesture has to propel the journey of a given character or the overall plot.
Narrativity presumes a special taste for plot. And this taste for plot was always very present in the Anglo-Saxon countries and that explains their high quality of detective novels.
This blessèd plot, this earth, this realm, this England This nurse, this teeming womb of royal kings, . . . This land of such dear souls, this dear dear land.
The night it fallsThe stars shine throughThe inky blackThat is the cueFor plot demandsThat dreams be sownThe fantasies I have aloneThe words come fastThey flow like wineI am the midnight writer...