ONCE YOU HAVE A COMPELLING CHARACTER, STEP TWO: TAKE THAT SOMETHING YOU LIKE AND PUT IN GENUINE DANGER.
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Replying to @FilmCritHULK
@FilmCritHULK Is that the same handbook George R.R. Martin uses? :P1 reply 0 retweets 0 likes -
Replying to @FilmCritHULK
@FilmCritHULK I think it's just difficult to do with a long running series, and it gets old to keep putting precious things in danger.2 replies 0 retweets 0 likes -
Replying to @FilmCritHULK
@FilmCritHULK@CastNuri It's more then just shock value. It establishes the world, brought Ned's story to a thematic end. Heightens tension2 replies 0 retweets 0 likes -
Replying to @MalcolmDoodles
@MalcolmDoodles@CastNuri RESULTS AND WITH CHEAPER DRAMATIC TACTICS. IT'S ABOUT THE EFFECT IN THOSE CASES. NOT THE STORY.1 reply 0 retweets 0 likes -
Replying to @FilmCritHULK
@FilmCritHULK@MalcolmDoodles@CastNuri Would you say this is also the case for Harry Potter?1 reply 0 retweets 0 likes -
Replying to @poopittypoop1 reply 0 retweets 0 likes
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Replying to @FilmCritHULK
@FilmCritHULK@MalcolmDoodles@CastNuri How is it different?2 replies 0 retweets 0 likes
@poopittypoop @MalcolmDoodles @CastNuri TONS OF REASONS - MOSTLY DEALING WITH BOTH EXECUTION, PURPOSE, AND CONTEXT.
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Replying to @FilmCritHULK
@FilmCritHULK@MalcolmDoodles@CastNuri thanks for response, though it's a little too vague for understanding where you're coming.1 reply 0 retweets 0 likes -
Replying to @poopittypoop
@poopittypoop WELL, WE'D HAVE TO GO EXAMPLE BY EXAMPLE, BUT THERE IS REALLY A STARK DIFFERENCE OF APPROACH EACH TIME.1 reply 0 retweets 0 likes - Show replies
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