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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It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.
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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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In fact, I don't read newspapers any longer.
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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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For me, any book I'm writing is also a chance to get in and research and read and learn things that I maybe only knew a little bit about before.
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I worked in the story department for years on 'Cars' and 'Toy Story 3.'
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Every job is important because each one represents an American's livelihood and ability to raise a family. Yet spending our time building walls around America will do nothing to help us compete for the millions of new jobs being created.
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When people are putting pressure on me I just completely ignore it.
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I couldn't claim that I have never felt the urge to explore evil, but when you descend into hell you have to be very careful.
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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.
