Andrew Coyle Bradley Quotes

Some directors ask for a hero introduction number, a duet and a fast number towards the climax. Most of the times, these songs only hinder the story.

A story really isn't truly a story until it reaches its climax and conclusion.

In each scene, the writer sets up a situation, which brings a conflict as well as either a small victory or a loss at the close of that particular scene.

My belief is that if you start a film all the way up at level 10, you've got nowhere to go.

The conventional Aristotelian plot proceeds by means of a protagonist, an antagonist, and a series of events comprising a rising action, climax and denouement.

It looks like I'm just gonna keep getting really, really happy and sad and embarrassed and excited and disappointed for the rest of my life, so let's just do that.

A big hook can be great; you'll have a big opening. But if you haven't got the right foundation, you're never going to keep that train on the tracks.

Despite the volatile mixture of family, politics and past misdeeds darkening the present, 'Hardball' doesn't have the sharp tang of the early novels or the expansive reach of more recent series installments.

You do doubt yourself and question yourself. You go from massive highs and confidence boosters - when I was in New York I was buzzing around the place - to really doubting yourself and questioning everything about your personality.

I write largely plot-driven stories.

The way that I work as an actress, I always prefer to read the whole story and tell the whole story and feel what the whole story's going to be, the journey for the audience and how it ebbs and flows, the highs and the lows.

I think lighting is a reflection of what is at stake emotionally in a movie.

In theatre, you learn the story is more important than the actor.

If significant amounts of time go by without suspenseful action - which is often most powerfully motivated by backstory - the story loses momentum, and readers lose interest.

There are times when I love the world and love everyone, and I want to talk to everyone, and other times when I feel really disillusioned, and like none of this is real, nothing is real around me.

Ever since I worked on 'Buffy', it's always helped me to find a genre container for something, and I was like, 'Oh, this is where the movie melodrama has gone to. It's gone to YA.'

Some days I feel good about my work, and sometimes I feel I've never written anything worthwhile. That's par for the course.

To me, action has to come from the plot.

The endings to me are the key moment in 'Weekend' and '45 Years.' I know how I want my gut to feel at the ending. Even if I can't articulate in words what that feeling is, I'm trying to find ways to get there.

When I began writing novels, I read Aristotle to learn how to perfect structure, Pearl Cleage to sustain tension, and Nora Roberts for characterization.

Suspense arises naturally from good writing - it's not a spice to be added separately.

My Nirvana experience was much different than the other three guys. For me, it was really new and exciting. I was just a guy from a punk rock band, thrown into this huge thing. There were dark periods, too. But there wasn't a dark cloud over the whole thing.

Endings don't have anything to do with what your movie is about. Now, there is an emotional climax, there's an emotional resolution that is 100 percent important. If I get that wrong, get your money back.

Sometimes you feel fine. You might have a day when you feel awful about what's going to happen in the game. It ebbs and flows. Just embrace it.

Every play is rhythmic control. If you want an audience to go on a journey, it's rhythmic control. You're crafting when they lean in, when they push back, when they breathe, when they surrender.