“Have you ever met someone for the first time, but in your heart you feel as if you’ve met them before?”
― When A Mullo Loves A Woman
― When A Mullo Loves A Woman
“Do as little harm to others as you can; make any sacrifice for your true friends; be responsible for yourself and ask nothing of others; and grab all the fun you can. Don't give much thought to yesterday, don't worry about tomorrow, live in the moment, and trust that your existence has meaning even when the world seems to be all blind chance and chaos. When life lands a hammer blow in your face, do your best to respond to the hammer as if it had been a cream pie.”
―
―
“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.
We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
―
We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
―
“Things'll get worse before they get better.”
― One of Us Is Lying
― One of Us Is Lying
“Statues are too much like dolls, and dolls are creepy. You keep expecting them to blink. And the ones that smile, like this?" Eve kept her lips tight together and she curved them up. "You know they've got teeth in there. Big, sharp, shiny teeth."
I didn't. But now I've got to worry about it.”
― Salvation in Death
I didn't. But now I've got to worry about it.”
― Salvation in Death
Marius’s 2025 Year in Books
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