Complex Narrative Quotes

There is more meat and mileage in complex characters, like 'Running with Scissors.'

I wouldn't call the Joker exactly easy to write.

One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines.

The character of Cable is complex.

James Joyce buried himself in his great work. _Finnegan's Wake_ is his monument and his tombstone. A dead end.

The first time I saw 'Sunset Boulevard' I was probably eight or nine years old, and it really struck me how it's so simply put and elegant, yet there's so much going on.

The influence of John Hughes is fully felt in the melodrama 'Donnie Darko.' This first film written and directed by Richard Kelly is a wobbly cannonball of a movie that tries to go Mr. Hughes one better; it's like a Hughes version of a novel by Gabriel Garcia Marquez.

I never thought 'The Glass Castle' would be a movie. It's just too complicated.

Reading Don Quixote can be compared to an indefinite visit from your most impossible senior relative, with all his pranks, dirty habits, unstoppable reminiscences, and terrible cronies. When the experience is over, and the old boy checks out at last (on page 846 - the prose wedged tight, with no breaks for dialogue), you will shed tears all right; not tears of relief or regret but tears of pride. You made it, despite all that 'Don Quixote' could do.

It's not stupid TV, it's not a reality program. It actually is complex. There's many layers to 'Heroes.'

One friend said, "Donnie Darko movie was weird!" And I thought, "Hmm. I don't think we're as good of friends as I thought." It's not like I disliked him for it; it just meant we weren't on the same page I thought we were. Because I can't imagine watching that film and not being moved to tears.

There's always more to a story than a body can see from the fenceline.

I'm interested in flawed protagonists. I was raised on them.

It's weirder and more surprising than the other books. I think there are more places where it's just more reality bending, deliberately so. I think it's a lot more emotionally raw.

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 hate even the idea of a synopsis. When stories are really working, when you're providing subtextual exploration and things that are deeply layered, you're obligated to not say things out loud.

I don't know... I don't think you can trust any of Kurt's characters. That's how Mr. Sutter operates: nothing is what it seems.

I never want readers to be comfortable, to feel like we're in a comedy or a drama. Life is never just one of those things. Life is a balance of all those things.

In the 'Dreamblood' books, I'm focusing more on what I like about epic fantasy: the layering and depth of tension; the chance to really delve into the minutia of an alternate society and its politics; a large cast of characters to love and hate.

Our response to the world is essentially one of wonder, of confronting the mysterious with a sense, not of being small, or insignificant, but of being part of a rich and complex narrative.

A great thing is happening on cable TV. You see characters change in stories over years, like in Tolstoy. That's a whole, thrilling new form that I really enjoy. They are Tolstoy-an in their endless character development and narrative changes... a show like 'Breaking Bad' is astonishing.

Also, if you watch the film once, there are lots of things that you won't get because there are punch lines in the first act, the setup to which isn't until the second act.

It's called 'Night Moves,' and it's my favorite 'Doc Ford' of all times. It's way too complicated, but it worked.

'Once Upon A Time In America' is one of the cleverest films of all time, because you can get out of it whatever you want to get out of it.

I think Brad [Furman] crafted an amazing film [The Infiltrator]. It's so complex, it's incredibly thrilling, incredibly touching and it's what people have been trying to do for years in Hollywood, is to try to capture what it's like to be undercover, what is that duality of life? And I think that Brad really caught that.