Story Quotes
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Every designer needs a story. Mine is all about glamour because my family has been in the business of glamour for three generations. My grandfather Shamshuddin Khan started his embroidery and fabric-making business in the 1930s.
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I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.
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The story and the characters of 'Girl Online' are mine.
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Having certain limits - not too many, but certain limits on an ability to tell a story - makes us work harder, me and my writers. Sometimes I watch a giant movie with a $250 million budget and I think they feel kind of bloated, and that if they'd been leaner and meaner they might've had better storytelling.
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But with nonfiction, the task is very straightforward: Do the research, tell the story.
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We seem, particularly over here in the West and in America in particular, to have forgotten that we are, in large measures, the story we tell ourselves about ourselves.
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Kabir Khan is that rare director who manages to merge Bollywood formula with a good story.
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You cannot reduce the power of story with the tag of money because it's not a share market. So you must know the seriousness of the power of storytelling.
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I don't like books that play to the gallery, but I've become more concerned with telling a story as clearly and engagingly as I can.
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I look at the film as an opportunity to see some bountifully creative minds do something that I could not do - tell the story with images. I can't wait to see what they do.
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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 wanted to write a story set in the Lovecraftian universe that didn't gloss over the uglier implications of his worldview.
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The classic, 'Romeo and Juliet,' for me, is the iconic story of young love.
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Characters are so important to a story that they actually decide where the story is going. When I write, I know my characters. I know how things are going to end, and I know some important incidents along the way.
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Nearly all monster stories depend for their success on Jack killing the Giant, Beowulf or St. George slaying the Dragon, Harry Potter triumphing over the basilisk. That is their inner grammar, and the whole shape of the story leads towards 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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If I read a scary story in the newspaper, I find I'm haunted by it.
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But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.
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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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All you can do is focus on telling the best story you can with compelling characters. If you do it right, it will endure. If you do it wrong, it won't.
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We try to guide with a light touch. Sometimes we can be helpful, and my goal with my team, both on the series side and on the film side, is that the collaboration should always be invited. In other words, we're not looking to impose our view on the filmmaker; we hire a storyteller because we love the story, and we love their ability to tell it.
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My books are character-driven. They're not driven by the story.
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As an actor, I'm my own worst critic, but after awhile, really, when you watch 'Moonrise Kingdom', it's such a fantastic film that you sort of get sucked into the story, and then you kind of forget about everything else.
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I'll tell you sort of an odd story: My music taste changed on 9/11. And it's very strange. I actually intellectually find this very curious. But on 9/11, I didn't like how rock music responded. And country music collectively, the way they responded, it resonated with me.
