Story Quotes
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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 success of the movie industry comes from the story. And the story comes from somebody putting something down on paper.
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'The Art Student's War' is, at its core, a traditional American wartime love story. As such, it is timely and engrossing. By the end, all its principal characters 'have been to Hell and back.'
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The opera tells the story with all the built-in contradictions and from many different angles.
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The most important thing to realise is that everyone is capable of telling a story. It doesn't matter where we were born or how we grew up.
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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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A story isn't about a moment in time, a story is about the moment in time.
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Everybody knows the story of The Smiths. You can still go and see Morrissey.
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Usually, you lose interest in a story beyond a certain point. But with 'Highway,' there was something very subtle, yet something very influential. I intended 'Highway' to be the first film that I ever made. Didn't happen.
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You set up the story, but the characters start talking, and they go places that you didn't expect. You have to follow.
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To me, White Boy Shuffle is sort of like Catcher in the Rye, the story is so universal.
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I spent 12 years doing different things in film trying to figure out the story I wanted to tell.
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Scoring the first 10 in history was a big deal, but the fact that even an electronic scoreboard could not figure out how to put out a score, it made the story more historic.
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We want a story that starts out with an earthquake and works its way up to a climax.
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A dinosaur out of context is like a character without a story. Worse than that, the character suffers from amnesia.
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Being in the industry, I've seen many situations where someone will get the call from the network where they say 'You guys have 5 episodes to wrap it up.' Then all your long-term story arcs gotta get wrapped up in five episodes because that's how many episodes you got left. I would hate to see that happen to 'Castle'.
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A story never looks as good as when the other fellow buys it.
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An experienced slush-pile reader doesn't need more than a few seconds to see if a story has potential. You don't need to eat all of a rotten egg to determine that it's rotten.
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It was like an honor thing for me to meet 50 cause I respected his whole story.
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To me the most important thing is a good story, though I know how cliche that sounds.
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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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A story is built on characters and reasons.
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The Indian story has never been written. Maybe I am the man to do it.
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I like to be involved with the scriptwriter early on, helping shape the story, and working out how the story can be told directorially.
