The Undertaker Quotes

A film with an untidy plot cannot grip the audience and define their emotional response.

People love storylines. They love them because at some point, the talent will get people emotionally invested.

I usually don't find myself reacting to my characters. I just create them ... And let the audience decide whether they're empathetic or scared or compelled to cheer me on.

Fiction works when it makes a reader feel something strongly.

Novelists have to be adept at controlling the flow of information, and, most crucially, they have to be in charge of the narrative.

As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.

We use wrestling moves to tell a story but it boils down to the character and being able to bring either love or hate out of your crowd.

You have to make a choice, and you have to commit to a character. You're either a babyface or a character that the fans relate to, support, love and aspire to be, or you're not. And if you're not, you're a heel: you're despicable, and they need to learn to love to hate you.

I try to mix the characters up and not be second guessed by the audience.

As storytellers, we tend to want to force-feed everything and have everybody understand everything right away, and we freak out if they don't.

My goal is to always try to make you feel something, whether that's humor or sadness or excitement, and to try to manipulate screen space.

So much emotion goes into writing fiction.

Unlike life, you've got more or less complete control over what's going on in your stories. That's not to say you can make characters do whatever you want them to - they usually have a life of their own if you've done your job properly.

Fans want to see a story with characters, and they want to see a story.

I always try to make my characters people, and yet I always want to entertain.

My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.

I think I can speak with a degree of authority... today, the biggest driving force of movies is pace; God help you if you try to put in a scene that is about character and not plot.

In a novel you have to resist the urge to tell everything.

All fiction is about people, unless it's about rabbits pretending to be people. It's all essentially characters in action, which means characters moving through time and changes taking place, and that's what we call 'the plot'.

An attempt to write nothing but characterization will soon bog down; I for one don't want to have somebody tell me about someone else.

Whether you're writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There's always got to be something bubbling underneath that will erupt at some point.

If you look at the great superheroes in any universe, you will always find that they have the very best super villains opposing them. It's because they are foils; they are people that the heroes play off of.

On TV, stories and events are finalized in 30 or 60 minutes, or neatly tied up after a season or two. The best stories are the ones that force us to come to our own conclusions and to explain why we believe in our conclusions.

If you create a good story that has a lot of story value... I think audiences like that. It's why they stick with the same TV show over and over.

My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.