Nicholas G. Carr Quotes
I think we begin to lose the ability to read in the deepest, most interpretive ways because were not kind of calming our mind and just focusing on the argument or the story.
Quotes to Explore
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The oldest books are only just out to those who have not read them.
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All of my problems are rather complicated - I need an entire novel to deal with them, not a short story or a movie. It's like a personal therapy.
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A story never looks as good as when the other fellow buys it.
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I'm not a very big fan of 'Slumdog Millionaire.' I think it's visually brilliant. But I have problems with the story line. I find the storyline unconvincing.
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90%, 100% are going there to hear the singing. The story is another thing. Nobody's interested in the story. Happiness is happiness.
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Sometimes the kids come up with better endings than the real story.
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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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I was also the romantic lead in The Boston Strangler - I was the only one that lived to tell the story - so I called myself the romantic lead.
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The reader is going to imprint on the characters he sees first. He is going to expect to see these people often, to have them figure largely into the story, possibly to care about them. Usually, this will be the protagonist.
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At times, the curve/fat/plus convo tends be this 'out of the dark' story, like, 'I used to be insecure, but now here I am.' But that is not my reality, and for most of the people, that isn't their reality, either.
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When 5150 came out rock was king. Post Nirvana and Pearl Jam 1996 is a different story.
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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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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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I read Carver. Julio Cortazar. Amis's essays. Baldwin. Lorrie Moore. Capote. Saramago. Larkin. Wodehouse. Anything, anything at all, that doesn't sound like me.
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My books are character-driven. They're not driven by the story.
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I worked in the story department for years on 'Cars' and 'Toy Story 3.'
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I like to let the story flesh itself out, and usually, the characters make their own decisions as things get under way. Dialogue especially seems to write itself once I'm familiar with the characters and their backgrounds.
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Of course, I'm not allowed to talk about the script, but I can say it is a really good story.
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When my wife passed, I stopped doing interviews and I stopped doing meet-and-greets, mostly because I sort of became this suicide ambassador. Everybody wanted to tell me their story.
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Some call it bootlegging. Some call it racketeering. I call it a business.
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You find that you can have the best business in the most exciting industry, but if the execution, if the torch-holder, if the value-creator isn't there, then we don't make it happen.
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I say, 'If I'm able to go out there and achieve a dream, then anybody can do it.'
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I think we begin to lose the ability to read in the deepest, most interpretive ways because were not kind of calming our mind and just focusing on the argument or the story.
