Plot Reveal Quotes

'The Sixth Sense' is fine the second time around, but honestly, the first time around, it's dazzling.

When you're watching a Hitchcock movie, you, for most of the movie, are playing the guessing game. What's the endgame? What's the plot? How are these people involved? It's the best way to tell the story, and as a viewer, that's what you want to experience.

I'm frustrated when I see movies in which I feel like the plot is being told to me instead of shown to me.

The thing with '24' is that because it moves so much, it's a challenge, and sometimes things get revealed about these characters as you go.

To call it an anticlimax would be an insult not only to climaxes but to prefixes. It's a crummy secret, about one step up the ladder of narrative originality from It Was All a Dream. It's so witless, in fact, that when we do discover the secret, we want to rewind the film so we don't know the secret anymore. And then keep on rewinding, and rewinding, until we're back at the beginning, and can get up from our seats and walk backward out of the theater and go down the up escalator and watch the money spring from the cash register into our pockets.

One of the interesting things about 'Saw' is that you don't find out about things in sequential or linear order. One of the things that fans have liked a lot is, we don't forget about details. They come back and reveal themselves as the story evolves.

I didn't make 'The Sixth Sense' because I thought the ending wouldn't work!

There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always know where the character is going.

I'm so tired of stories starting, 'Maud Jones was walking her dog down Broadway.' You've got to go over to the back page somewhere to finally find out the damn dog was run over by a truck. Get the thing told, for heaven's sake. Everybody doesn't have to be an O. Henry.

Anytime I feel like I am beginning to explain the plot or characters too much my stomach churns. I like stories that let the characters speak for themselves and don't give you all the information.

Book four is tentatively titled 'The Skull Throne, ' and book five is 'The Core .' It's kind of hard to talk much about them without giving away things from 'Daylight War,' however.

I don't know why people are so obsessed with finding out stuff before the movie comes out. It's so much more fun to just go. I mean, I don't do that. I don't go looking for stuff that I'm interested in, you know, to try and find out pictures and what the movie's about. It's so much more fun to be surprised.

I always say, 'If you're planning on seeing our movie, don't look at any more of the materials.'

In judging other people's work, particularly short stories, I have noticed how novice writers tell the readers everything about their characters in the first paragraphs, disclose their motives, reveal their recent activities and their future intentions.

I've enjoyed working on the TV series that I've worked on, in particular something like 'The Wire,' where there was so much time to tell the story and develop a character. I learned from that that it's best not to lay all your cards on the table straight away.

The tradition, particularly in old-school British detective things, is everybody's in the drawing room or the library, and they're all gathered, and the detective walks around and tells them where they were that night, and you see the flashbacks.

I never understood the concept of showing everything in the trailer. Why go to a movie if there's no surprise? I can't do it like that.

Surprises are good. I'm not of the thinking where you tell the audience everything. Sometimes I don't even want to see the trailers. You see the trailer, you've seen the movie.

I always feel funny when I don't reveal things, especially to you [the press], who have supported us so much and are really the big reason we're here. But, we hold back information about the plot because we want to reward the fans for sticking with us, and that's so much fun. That's the funnest part of it.

Harrison is very much part of this one, but really it’s about finding him; he comes in in the third act.

I think the whole spoiler thing has taken over the media.

It is unlike the quintessential thriller where someone is up to something and the audience is speculating. 'Johnny Gaddaar' is the opposite of a thriller. In this case, the audience knows right from the outset what transpires and who the likely culprit is. It is a suspense caper.

Yeah, it's an origin story. But you very quickly get into the origin and then it's off to the races. It is an origin story, certainly, but it's not like the movie ends and somebody stretches. It happens pretty quickly and I'm not sure how much I'm allowed to say about it, but I think when people see that first hint, they'll be pretty excited about it.

I hate it when people tell me the end of the story because my mother always read the last page of a novel first to see whether she wanted to read it. It was a strange reading habit.

I hate it when it is all about the twist and when the ending comes out of nowhere. I think you should be surprised and shocked, but you should also think, 'Damn, I should have seen it,' because there are clues all the way through.