"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."

The suspense is terrible. I hope it will last.

The suspense: the fearful, acute suspense: of standing idly by while the life of one we dearly love, is trembling in the balance; the racking thoughts that crowd upon the mind, and make the heart beat violently, and the breath come thick, by the force of the images they conjure up before it; the desperate anxiety <i>to be doing something</i> to relieve the pain, or lessen the danger, which we have no power to alleviate; the sinking of soul and spirit, which the sad remembrance of our helplessness produces; what tortures can equal these; what reflections of endeavours can, in the full tide and fever of the time, allay them!

Action is a great restorer and builder of confidence. Inaction is not only the result, but the cause, of fear. Perhaps the action you take will be successful; perhaps different action or adjustments will have to follow. But any action is better than no action at all.

A revered Hollywood axiom warns: “Movies are about their last twenty minutes.” In other words, for a film to have a chance in the world, the last act and its climax must be the most satisfying experience of all. For no matter what the first ninety minutes have achieved, if the final movement fails, the film will die over its opening weekend.

On the rare occasions on which a movie was shown, there was as much suspense in the audience over whether the electricity would hold out to the end of the film as there was in the film itself.

Never confuse Motion with Action.

Holding on to resentment is like taking poison and waiting for your enemies to die.

Hesitation allows the moment to pass, the opportunity to be lost, the enemy to get the upper hand. Hesitation turns into cowardice. It stops us from moving forward, from taking initiative, from executing what we know we must. Hesitation defeats us. So we must defeat it.

There is nothing like suspense and anxiety for barricading a human's mind against the Enemy. He wants men to be concerned with what they do; our business is to keep them thinking about what will happen to them.

Action is Character.

It's a dangerous game that comedy plays. Sometimes it tells you the truth; sometimes it delays it.

Knowledge kills action; action requires the veils of illusion.

It is easy to get bogged down trying to find the optimal plan for change: the fastest way to lose weight, the best program to build muscle, the perfect idea for a side hustle. We are so focused on figuring out the best approach that we never get around to taking action. As Voltaire once wrote, “The best is the enemy of the good.” I refer to this as the difference between being in motion and taking action. The two ideas sound similar, but they’re not the same. When you’re in motion, you’re planning and strategizing and learning. Those are all good things, but they don’t produce a result. Action, on the other hand, is the type of behavior that will deliver an outcome. If I outline twenty ideas for articles I want to write, that’s motion. If I actually sit down and write an article, that’s action.