Nathan Greno Quotes
Developing a full length feature is much longer process than developing a short. With features you're typically dealing with more characters, plot, emotion, story arc, etc. - a short is the same only much... shorter!
Quotes to Explore
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We want a story that starts out with an earthquake and works its way up to a climax.
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When readers close the covers on 'Running the Rift,' I want them to understand that it is not a genocide novel but rather a story of hope and rebirth.
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Every story I create, creates me. I write to create myself.
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This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
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You set up the story, but the characters start talking, and they go places that you didn't expect. You have to follow.
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The film industry is mostly about unidimensional characters.
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It's like tabloid news programs that talk about how horrible something is, while at the same time they're glorifying it as their top story.
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There really isn't a story that you can't tell inside of it. It's very much a clearinghouse for anything that goes on in the world. So you're not at all limited.
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With a mini series you can give the story a proper sense of pacing, a proper sense of closure.
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There's no story that breaks, including a five-alarm fire in Brooklyn, that I don't wish I were covering.
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As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
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Love isn't an emotion or an instinct - it's an art.
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Some of the biggest movie stars in the world are essentially characters.
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On the subject of literary genres, I've always felt that my response to poetry is inadequate. I'd love to be the kind of person that drifts off into the garden with a slim volume of Elizabethan verse or a sheaf of haikus, but my passion is story.
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Everybody has a Bill Murray story. He just punishes people for reasons they can't figure out.
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All my career, all that I've really done has been based on emotion and intuition and gravitating toward what sounds good.
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For me, it's first about the characters. I look for a character who is intriguing and challenging and different from what I've done before.
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I don't read for plot, a story 'about' this or that. There must be some kind of philosophical depth rendered into the language, something happening.
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One extremely important purpose of emotions from an evolutionary perspective is to help us decide what to remember and what to forget. The cavewoman who could remember which cave had the gentle guy who gave her food is more likely to be our foremother than the cave woman who confused it with the cave that held the killer bear. The emotion of love and the emotion of fear would help secure her memories.
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Lionel Essrog, the twitching, barking, gabbling narrator of Jonathan Lethem's new novel, 'Motherless Brooklyn,' is no movie-of-the-week novelty grafted onto a noir mystery. Maybe his Tourette's is a gimmick, but it's a gimmick with depth, with soul.
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Humans all want to beat the clock but nobody ever does.
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I really become the characters when I'm writing them. I'll become one or two of them more than others, I'm consistent that way.
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Developing a full length feature is much longer process than developing a short. With features you're typically dealing with more characters, plot, emotion, story arc, etc. - a short is the same only much... shorter!
