Top 40 Pacing Quotes

Growing up, I wanted to write films and make films. Even as I took this detour and stayed in the music world, I still think in terms of ‘What is in this room? What is the shot? Who are the characters? What is the conversation here?’ My sense of pacing is very filmlike, it’s not musical.

In terms of graphic versus prose, I could probably do a lecture on that topic. But what stood out most was the difference in pacing the language and resulting scenes. One illustration can do so much for the reader.

I find it enormously valuable to be sure that that the pacing is what I think it is and that the scenes have the shape I think they have musically and dramatically.

I spend most of my days pacing around, muttering that I have no ideas, feeling like I’m walking a plank.

We’d be working in our motel room through the night, and I’d come up with an idea at two in the morning, and he’d start jumping up and down, pacing across the room, or whatever.

The storyboard artists job is to plan out shot for shot the whole show, write all the dialog, and decide the mood, action, jokes, pacing, etc of every scene.

Making comic adaptations means making a lot of choices – you need to adjust the pacing, the dialogue, and in this case, a lot of the cultural references.

I realized if I’m not really making an album, I don’t have to be concerned about things like stylistic consistency, pacing, a coherent mood. All that stuff goes out the window.

The corncob was the central object of my life. My father was a horse handler, first trotting and pacing horses, then coach horses, then work horses, finally saddle horses. I grew up around, on, and under horses, fed them, shoveled their manure, emptied the mangers of corncobs.

In fiction, you learn about pacing and how to build tension – which is something you want in a really good nonfiction feature article as well.

I focus a little more on pacing when I write books in the young adult category, and of course there’s the great American fear of anything sexual, so that’s somewhat backed off in YA.

Full Frame is where I had the first showing of my first film, ‘Street Fight.’ I have a fond memory of pacing around outside the theater, nervously trying to keep from throwing up. It’s a magical festival, well curated, with a warm and generous spirit.

You feel it in there, pacing your heart sometimes, and it has what’s called a defibrillator. Should I suffer that arhythmia, it’s generally sudden death. And the paddles that are internal shock you back and restore your rhythm to its normal and natural state.

Instinct taught me 20 years ago to pace a song or a concert performance. That translates into pacing a story, pleasing a reading audience.

Mick Jagger knows how to run a show. It’s all about pacing. It’s not a sprint, it’s a marathon. His output is amazing, but his movements are subtle. As I get older, I’ll have to adhere to these rules.

My role as an artist helps me tremendously in breaking down each story. Pacing, layout, movement – having drawn a few thousand pages, I understand the language of comic books very well.

The pacing in Tamil and Telugu is very different from Malayalam cinema.

Pacing has become more important than ever, largely because of other media. I’ve always tried to start my stories out with a bang, something that will hook their attention.

I actually enjoyed the struggles that we had trying to shape ‘Blood’, to get the pacing right, the rhythm of it.

I try to tell a story the way someone would tell you a story in a bar, with the same kind of timing and pacing.

For me, writing for kids is harder because they’re a more discriminating audience. While adults might stay with you, if you lose your pacing or if you have pages of extraneous description, a kid’s not going to do that. They will drop the book.

One of the things I admire about longer stories is the way writers can work with dead time and slower, more idle moments – not only can they feel expansive, they feel lived-in; the unhurried pacing often makes the endings even more resonant and surprising for me.

After I work with my editor to get the manuscript in good shape, I sketch and lay out a whole book loosely, usually in black and white. You learn things about your text when you have to think about pacing and page-turns.

When I’m making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.

We live in a zoo, and we get to share all our animals with the people who come in. We really put our animals first, and then the staff, and then the visitors. The animals aren’t pacing; they’re all happy. When you touch an animal, it ultimately touches you.

All these years later, I have almost no memory of the shows themselves. It’s a blur. I remember my jogging runs better – that was my way of getting my energy together. I used to try to get to the arena as late as possible; otherwise, I’d just be pacing around, waiting to go on.

A movie contains literally tens of thousands of ideas. They’re in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.

As far as pacing the shoot is concerned, I know when I’ve got it. I don’t think there’s any reason to take ten takes unless you need them.

Humor is the hardest thing to do. Action is so much easier, because you’re just trying to establish the mood, and a pacing, and a rhythm, and an energy. Where, in humor, comedy is so subjective.

I’ve seen ‘Goodfellas’ a hundred times, and one of the things that I take away from that movie is dynamic pacing and energy. I just think that film is sort of a paragon of excellence in filmmaking and the compression of narrative.

With a mini series you can give the story a proper sense of pacing, a proper sense of closure.

I picture my books as movies when I get stuck, and when I’m working on a new idea, the first thing I do is hit theaters to work out pacing and mood.

Language description and metaphors seem readily available. The things I have to work harder at are plot, pacing, and form.

I think there’s something to be said about pacing yourself.

What keeps readers turning pages is suspense, which you can create using a variety of techniques, including tension, pacing and foreshadowing.

Every time I got ‘Amazing Spider-Man’ or ‘Fantastic Four’ or another book firmly on the rails, we got pulled into some big event book or crossover and it cost momentum and messed badly with the pacing and structure of the book.

Pacing is not the sort of thing you can plan out beforehand, but you’re always aware of it as you write, because you need to make constant decisions.

Warwick Davies is a cracking actor. The opening scene in the last ‘Harry Potter’ film, where he plays a captured Griphook, is mesmerising. His pacing is sublime, and the menace and regret he builds into the scene is fantastic.

The main problem was a pacing problem. I had wanted the project to be about 20-30 issues, and I should have written it out as a full script beforehand.

I’m a ‘frotteur,’ someone who likes to rub words in his hand, to turn them around and feel them, to wonder if that really is the best word possible. Does that word in this sentence have any electric potential? Does it do anything? Too much electricity will make your reader’s hair frizzy. There’s a question of pacing.