I think there was a lot of working out the arc of how Manny [Daniel Radcliffe] talks. Scene to scene [in the Swiss army Man], if I would start talking a little too well, they would come in and say like, "Hey, you need to [dial back] your ability to speak" - things like that.
In documentary films, you're a storyteller using found objects. You still have to have a story arc and all the elements that make a good story. It really helped me mature as a storyteller.
I hate that she's hurt. I hate that she's been hurt, by me and by others, throughout the entire arc of her life. I barely remember pain, but when I see it in her I feel it in myself, in disproportionate measure. it creeps into my eyes, stinging, burning.
Sometimes there's a general arc that you want to try and get better the longer you do something.
The most important, overriding arc of my career has been that I would never be self-deprecating.
I think Rick Berman just called me and asked me if I wanted to do the show [Star Trek: Enterprise], and he said they'd write an arc if I'd do it.
I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.
Novelists are stamina merchants, grinders, nine-to-fivers, and their career curves follow the usual arc of human endeavour.
The moral arc of the universe bends at the elbow of justice.
I'm increasingly less interested in classic storylines and that arc that we have come to expect.
The biggest challenge is not the storytelling, it's to track every character's arc through the entire movie.
Speaking of August Rodin: He raised his world above us in an immense arc, and made it a part of nature.
Age is not so much a feature of your character, as the spot where you stand for a pretty fleeting time on the arc of your life.
As a writer, you know what the purpose of the scene is. It really has nothing to do with the actor so you have to really get out of that space because for actors it's a micro-focus and then you figure out your arc through what the writers have given you to say. But that arc is just one little piece of the huge arc of the whole film. It took a while to get out of that.
In the long arc of time, you are only relevant if customers love you.
When Joan D' Arc was asked by her judges why as a Christian she did not love the British, she answered that she did love them, but she loved British in their country. In the same way, we do not hate the Turks, we love them, but in their country.
It's a whole other way of working when you work in films: You know exactly the arc of your character.
You hope to see an arc of growth in your ability to become a character on television.
