Story Quotes
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I'm finding now more and more that nudity is so rarely serves the story in any film.
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It's really important to me not to be a snob about age division or about genre or whatever. The story needs to be what the story needs to be.
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The word inventors have to create a new term to describe how I felt when I learned that 'Refund' was on the shortlist for the Frank O'Connor International Story prize - Excited, thrilled, honored, none of them quite do it.
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The entire story of 'Elizabethtown' arrived quickly, ... a tale of love and loss and the discovery of family roots in the aftermath of a very black turn of events in the life of a young shoe designer, Orlando Bloom. It was a story that would start with an ending and end with a beginning and, I hoped, give a sense of what it was to be truly alive.
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Managing to tell a story is very gratifying.
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What's hardest for me to swallow is when there is a love story, say, with a really high-profile male star and there's no reason I can't play the part. They say, 'Oh, we love Halle, we just don't want to go black with this part.'
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I speak and speak, [...] but the listener retains only the words he is expecting. [...] It is not the voice that commands the story: it is the ear.
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You don't just have a story - you're a story in the making, and you never know what the next chapter's going to be. That's what makes it exciting.
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I'm just trying to tell a nice story. Whether you're a writer or a producer, all you want to do is tell a good yarn.
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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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Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.
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Whenever people ask me what the story is for my next film, I won't tell and people feel it's because I'm being secretive or something, but it's actually because I'm ashamed to sum up a film in three sentences.
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'The Museum of Innocence' is not about politics; it's a love story, but I think it's political in the sense that it wants to capture how a man suppresses a woman.
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How many times have I thought of me sitting on a bench with him and me wriggling away from whatever he wanted to talk to me about. Sometimes you say you're going to write a story about that and sometimes it just arrives, and those scenes arrive.
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Everybody has a story. And there's something to be learned from every experience.
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I was thinking 'Love Story', obviously, was a romantic film of that time.
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But it's a very universal story and the thing is I was reluctant to answer that question because I don't want people latching on to a particular stereotype.
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I've directed enough in the theatre and a couple of films to know that - to feel fairly secure that if I find a story that I really like I can probably get it done somewhat.
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He thought about the story his daughter was living and the role she was playing inside that story. He realized he hadn't provided a better role for his daughter. He hadn't mapped out a story for his family. And so his daughter had chosen another story, a story in which she was wanted, even if she was only being used. In the absence of a family story, she'd chosen a story in which there was risk and adventure, rebellion and independence.
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A story to me means a plot where there is some surprise. Because that is how life is – full of surprises.
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Most of the names in my books have secondary meaning. Sometimes they foreshadow; sometimes they tell you about the character's origin or back story.
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Before I studied story, I was trying to write a novel, and it was terrible. It wasn't going anywhere, and I couldn't figure out what I was trying to do. It was really hard; much harder than I thought it was going to be. Now that I've studied story, I think I'd have a different approach and maybe I could actually get it done.
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I have also led you astray by talking of technique as if it were something that could be separated from the rest of the story. Technique can't operate at all, of course, except on believable material.
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We have to have a version of our own story that we keep telling ourselves that allows us to get up in the morning. This version of yourself is what you sell to yourself. I think it necessarily includes ... not looking at certain things. Everybody's got some blind spot.
