Emotional Arc Quotes

I always have a sense of where I want to end each season, emotionally and relationship wise and with the theme, and I'm always able to hit that.

Remember: Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all Plot ever should be. It is human desire let run, running, and reaching a goal. It cannot be mechanical. It can only be dynamic.

Filmmaking is always sort of building a mosaic of this arc of what the character is going through.

When you go to a great concert, you feel this arc, almost like the music of a well-chosen set takes you on this trip through emotions and through various forms of intellectual engagement.

I look for characters who are emotionally driven.

I like things that start depressing and dark and end up romantic, and that's what I really loved about 'King Kong.'

The 'victim to victory' theory is that, if you listen to the radio, a large percentage of the hits are... about victim to victory, like, 'I'm having a terrible time.' And then the pre-chorus is, 'I don't know what's gonna happen next.' And the chorus is, 'Now I'm brilliant, and everything is great, because something happened to make it great.'

I love drama. I love to play an arc.

No, I love the idea that someone changes. As an actor it's always the thing that you look for. He is someone who starts off bright, cheerful and confident and then has everything taken away from him. It's a wonderful journey to take.

Normally my films have a single thread of an emotion, an insight or one single belief, and then I turn the entire story and build it around that.

With all of our big-hit shows - like 'Big Bang Theory,' and even 'How I Met Your Mother' - when they first started, you have multiple characters to service, and you want to make sure that the audience has a chance to get the concept, get the emotional arc, and really engage with the relationships.

Every single song I write has to feel like it has a beginning, middle, and end, like a movie or a short story.

Once you get into a feature, whether it's a sequel or an original one, you have to start all over again, and you're creating a world, creating new characters. You're also tracking emotions. You're trying to create emotion and create a character that you can fall in love with for two hours.

I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.

A novel takes place over time. It's a historical narrative, and it needs to have a series of peaks and valleys and the move through. You can't just start at the highest pitch and stay there, but you can in a lyric poem.

It's the same kind of preparation you do for something like this you do for anything. It doesn't matter if it's a drama or a comedy, the need to get the emotion and the character arc across is way harder in something like this so was more of a preparation.

The secret to 'Year One' is that it's a Jim Gordon story. It's a great Bruce Wayne story, don't get me wrong, but Jim Gordon is the focus of that book. To me, that's the stronger emotional arc. It's not that the Bruce Wayne stuff isn't masterful, because it is, but it's Jim's book.

With 'Journey,' we created an emotional arc for two different scenarios. So, if you play alone, it's a good game. You have what we think is a complete emotional arc. You will feel, I guess, a sense of transformation in the single-player. Because it's a hero's journey.

I think one of the successes of Gladiator is how we manage to turn on a dime the character from one thing to another where you believe he is one thing and he is something very different.

I think you have to find the humanity in the character and then the deterioration is a part of the process - the journey of the character. It's like playing King Lear. You can start off as a nice old man who finishes up crazy.

You'd be surprised how hard it is getting the human emotional arc in a script to work. Ultimately a director stands and falls by their ability to do that.

Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.

I try to give both my heroes and villains an emotional dimensionality which provides the motivation for their actions.

Each song is a lifetime, it begins and ends, and there's a journey taken within the songs.

The loveliest roles, for me, have a growth arc - a beginning, a middle, and an end - and I'm always grateful when I can find one of those emotional journeys.