The problem with romantic comedies is you know the ending by the poster. So they're not movies you can keep doing over and over again expect satisfaction somehow.
In tragedy, it's hard to find a good resolution; it's not black and white: it's a big fog of gray.
I always like things to be as complicated as possible. I don't like an easy ending. I don't like when all the pieces get tied up. As a viewer who loves stories and storytelling, that annoys me.
I look at 'Straw Dogs' as a very imperfect movie. It's a little bit slow, and its themes are a little bit murky.
Normally, in a film with lots of twists and turns, half of them don't make sense; they're just there for their own sakes.
The trouble with Hollywood films is that they always have a pleasant ending.
I keep trying to write happy endings, but my books always end on more of a bittersweet note of ambiguity.
In America, they slag each other off at the press conference, then get in the ring and don't do anything.
In Hollywood films everything is tidied up at the end with clean lines and clean character definitions. It's sort of unsatisfying.
Good stories flow like honey. Bad stories stick in the craw. A bad story? One that cannot be absorbed on the first time of reading.
Anticlimax is, of course, the warp and way of things. Real life seldom structures a decent denouement.
We all hate those stories that end with 'And that's the story.'
It's harder and harder to make a well-done romantic comedy these days because the conventions have been so played out.
A novel with a bad middle is a bad book. A bad ending is something I've just gotten in the habit of forgiving.
