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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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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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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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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For me, 'Mommy' was about developing very humane characters that would be very credible and endearing and work onscreen.
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There are 36 ways to tell this story. And all of them are disgusting.
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I can't honestly account for the very personal response that I have to one story and not another, a sense of an orbit, the orbit of a world that draws me as my own life recedes.
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I wrote my first book at eight, all of four pages. At 10, I did a 40-page story. At 12, I wrote two stage plays.
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The story of each stone leads back to a mountain.
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If you have one article of clothing that's very expensive, you don't have to have the whole ensemble and look like a Christmas tree. To wear the clothes, to not let them wear you. And to really remember that clothes are beautiful. It's like are you gonna wear something that people say: "Oh that's a great blouse." Or are you gonna wear something that people say: "Oh you look great today.." .
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As I go clowning my sentimental way into eternity, wrestling with all my problems of estrangement and communion, sincerity and simulation, ambition and acquiescence, I shuttle between worrying whether I matter at all and whether anything else matters but me.
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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!
