Len Wein Quotes
What makes a story is how well it manages to connect with the reader, the visceral effect it has.
Quotes to Explore
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I'm not a character like Rapunzel or Cinderella; my story looks like any other.
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I've always loved massive worlds, whether in fantasy or science fiction. I like the idea of making my own rules as well as utilizing everything that I love or inspires me. It's very freeing to know you can write a story that can be as big as your own imagination.
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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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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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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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Every story I create, creates me. I write to create myself.
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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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People will turn their noses up at a sequel or that type of thing, but Pixar really works hard - if they're making a sequel - to make a sequel an original movie, to make it an original story.
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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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It's really a sad story, and I liked that. The songs on this album talk about relationships in every aspect.
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I think I've played a lesbian about five times. The first one was with Helen Baxendale in a drama called 'The Investigator,' about the conditions lesbians had to live under in the army in Britain, which was based on a true story.
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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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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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Genes are like the story, and DNA is the language that the story is written in.
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Reading a Lydia Davis story collection is like reaching into what you think is a bag of potato chips and pulling out something else entirely: a gherkin, a pepper corn, a truffle, a piece of beef jerky.
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My books are character-driven. They're not driven by the story.
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My only conclusion about structure is that nothing works if you don't have interesting characters and a good story to tell.
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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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I work with brands that I personally connect with or personally use. For example, I was already driving the Suzuki Hayabusa long before I started endorsing Suzuki.
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Women have a wonderful instinct about things. They can discover everything except the obvious.
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I know that the nice shines I have on is going to pass. The nice cars will pass. All that will stay is the music and the work. That's where I get the inspiration to help people out and work.
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What makes a story is how well it manages to connect with the reader, the visceral effect it has.
