Plot Quotes - page 8
If the intensity of the material world is plotted along the horizontal axis, and the response of the human mind is on the vertical, the relation between the two is represented by the logarithmic curve. Could this rule provide a clue to the relationship between the objective measure of information, and our subjective perception of it?
Hans Christian von Baeyer
There is a greater and thicker plot around this issue which has undermined my confidence in this relationship. The marriage has been hijacked and there is an apparent active political hand that is now driving the processes. State security agents have weighed in to force and direct proceedings, which has resulted in everything regarding this relationship now taking place on camera. The intention is clear: to inflict maximum damage on my person and character for political gain.
Morgan Tsvangirai
In modern times, the clearest example of history in the ancient, great cycle mode, is found in the work of another German socialist philosopher: Oswald Spengler. Modeling civilizations on the life-cycles of organic beings, he plotted their rise and inevitable decay through predictable phases. For the West, firmly locked into the downside of the wave, relentless, accelerating degeneration can be confidently anticipated. Spengler's withering pessimism seems not to have detracted significantly from the cultural comfort derived from his archetypal historical scheme.
Nick Land
Attack of the Clones displays some similarities to The Empire Strikes Back, but, overall, it is not as effective a piece of cinema (although the 2002 era special effects make it far more pleasing to the eye). Both films contain romantic subplots and are darker in tone than their predecessors. Both develop a number of unresolved plot elements. And both end on a note that incorporates hope with ambiguity. There is, however, one major difference. The Empire Strikes Back includes a shocking revelation. Nothing of that sort is present in Attack of the Clones. In terms of its plotting, this film is relatively straightforward. There's nothing wrong with that - in fact, it works. In a time when, more often than not, sequels disappoint, it's refreshing to uncover something this high-profile that fulfills the promise of its name and adds another title to a storied legacy.
James Berardinelli
The biggest alien invasion picture of the summer of 1996 is Independence Day. But it's not the first. The Arrival, with a significantly lower budget than Fox's July 3 release, has that distinction, and, while this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.
James Berardinelli
If you're in the mood for something that's completely visceral and mindless (really mindless - the plot is a joke, filled with contrivances and coincidences), this movie will fit the bill. Parts of it are excruciatingly bad, but there are numerous examples of well-directed action that, on balance, compensate for the worst gaffes. This is a poor man's Die Hard. It has the explosions, gunplay, and spectacular stunts, but little of the wit and intelligence. In other words, it's a typical summer action flick.
James Berardinelli
Godzilla is the ultimate culmination of the "who cares about plot" summer movie. A loose remake of the 1954 "classic" Japanese monster movie, Godzilla, King of the Monsters (which is itself pretty thin in the story department), Roland Emmerich and Dean Devlin's big-budget lizard-stomps-Manhattan disaster flick has been written with the brain dead in mind. The script isn't just "dumbed down," it's lobotomized. Godzilla lives and dies on special effects alone.
James Berardinelli
Biography can be the most middle-class of all forms, the judgment of little people avenging themselves on the great. One English critic took me to task for not saying that Genet was "afraid of intimacy" all his life because he'd been abandoned by his mother at the age of seven months. All the evidence needed to make such an interpretation is in my book, but I don't myself draw the vulgar conclusion. Since most literary biographies ignore the work except for potted plot summaries, they strip the biographee of everything redeeming and leave his or her subject to this spiteful revenge, this half-baked Freudian-Christian-bourgeois moralizing.
Edmund White
Hale: There is a prodigious fear of this court in the country -
Danforth: Then there is a prodigious guilt in the country. Are you afraid to be questioned here?
Hale: I may only fear the Lord, sir, but there is fear in the country nevertheless.
Danforth: Reproach me not with the fear in the country; there is fear in the country because there is a moving plot to topple Christ in the country!
Hale: But it does not follow that everyone accused is part of it.
Danforth: No uncorrupted man may fear this court, Mr. Hale!
Arthur Miller
We like to picture to ourselves the field of law as accurately mapped and plotted. We draw our little lines, and they are hardly down before we blur them. As in time and space, so here. Divisions are working hypotheses, adopted for convenience. ... So also the duty of a judge becomes itself a question of degree, and he is a useful judge or a poor one as he estimates the measure accurately or loosely. He must balance all his ingredients, his philosophy, his logic, his analogies, his history, his customs, his sense of right, and all the rest, and adding a little here and taking out a little there, must determine, as wisely as he can, which weight shall tip the scales.
Benjamin N. Cardozo
My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
Tis not through envy of thy happy lot,
But being too happy in thine happiness, -
That thou, light-winged Dryad of the trees,
In some melodious plot
Of beechen green, and shadows numberless,
Singest of summer in full-throated ease.
John Keats
I find poetic links, the logic of poetry in cinema, extraordinarily pleasing. They seem to me perfectly appropriate to the potential of cinema as the most truthful and poetic of art forms. Certainly I am more at home with them than with traditional theatrical writing which links images through the linear rigid logical development of plot. That sort of fussily correct way of linking events usually involves arbitrarily forcing them into sequence in obedience to some abstract notion of order. And even when this is not so, even when the plot is governed by the characters, one finds that the links which hold it together rest on a facile interpretation of life's complexities.
Andrei Tarkovsky
