Complex Plot Quotes

'Star Trek Into Darkness' isn't that 'Star Trek' is going to be no fun, and dark. It's that the fun's going to be challenged by some serious issues.

My Real Children starts quietly, then suddenly takes you on two roller-coaster rides at once, swooping dizzily through a double panorama and ending in a sort of super Sophie's Choice. A daring tour de force.

Sometimes my plot lines are so convoluted, I get calls from friends at 3 am saying; you SOB, you'll never pull this one off.

Westworld' was its own treat and its own enigma. It was a great experience, but I definitely was not privy to a lot of things on that show.

If you're expecting an intellectual film, then you will be disappointed.

Delicious... Everything I'd hoped for in a new Wild Cards book. The character interactions and plot twists have exactly the complexity, surprise, and unsentimental realism I'd expect out of a George R. R. Martin project.

I don't like to go to the movies to see violence or some kind of spy thing with all kinds of information you have to assimilate to understand the plot.

'Paquita' has a patchy history, beginning in 1846, and a patchy plot.

It's awesome to see something like 'Inception', which is just mind-blowing and amazing, and it actually resonates with the audiences. I feel like that's rare.

I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.

A movie like 'Edge of Tomorrow' is so huge and complex - the spectacle and action is all-consuming - and that on its own is enough of a reason for a lot of people to see it.

Most big popcorn movies are 'bad guy does something to good guy, good guy gets revenge on bad guy, sets the world right, and moves on.' And 'Ender's Game' is just not that simple, so it's an exciting challenge. It's a little terrifying, and let's see how audiences respond.

With its vastly complicated plot and its immense cast of characters swirling around the case of Jarndyce vs. Jarndyce that has been grinding away in the Court of Chancery for decades, 'Bleak House' is, for many readers, Dickens's greatest novel.

In a long story like 'Weathercraft,' it becomes kind of convoluted. It can become perhaps difficult to remember what led up to whatever point you're at. I worried a little bit about people being able to keep the shape of the story in their heads while they were reading it, and not wonder how they got wherever they were.

You can't mess around with young readers - you have to cut straight to the heart of the story. The character can be complex, the plot can have some surprises, but the emotions have to be clear.

Anybody who's read 'Pretty Deadly' knows that I tend to savor an immersive, 'You'll figure it out as you go!' style. 'Pretty Deadly' really does not hold your hand.

'Original Sin' is, for me, a murder mystery with a huge cast that plays out on a grand stage.

I have seen and really liked the varied movie adaptations of the book, but 'Little Women' has a sprawling, richly tangled story that needs time and space to weave its magic.

I want stories where you either hate it or love it. I want to do movies like that, where it's not show and tell, where it's not, 'This is it, and now you reveal the ending, and that's that.'

I think it's an obligation to make a movie full, so you have to see it twice to get all the moments.