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“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.”
―
“Do you think that I am a machine? That I can bear it?
Do you think because I'm poor, plain, obsure, and little
that I have no heart? That I'm without soul?
I have as much heart as you and as much soul.
And if God had given me as much beauty and wealth,
I would make it as hard for you to leave me as it is now for me to leave you.”
― Jane Eyre
Do you think because I'm poor, plain, obsure, and little
that I have no heart? That I'm without soul?
I have as much heart as you and as much soul.
And if God had given me as much beauty and wealth,
I would make it as hard for you to leave me as it is now for me to leave you.”
― Jane Eyre
“If I didn't think, I'd be much happier; if I didn't have any sex organs, I wouldn't waver on the brink of nervous emotion and tears all the time. ”
― The Unabridged Journals of Sylvia Plath
― The Unabridged Journals of Sylvia Plath
“Oh- my twitchy witchy girl
I think you are so nice,
I give you bowls of porridge
And I give you bowls of ice
Cream.
I give you lots of kisses,
And I give lots of hugs,
But I never give you sandwiches
With bugs
In.”
― Coraline
I think you are so nice,
I give you bowls of porridge
And I give you bowls of ice
Cream.
I give you lots of kisses,
And I give lots of hugs,
But I never give you sandwiches
With bugs
In.”
― Coraline
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