Story Quotes
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I'll tell you what I miss most. What I would love to do, more than anything, is just anthologies. With an anthology you can tell any story and be in every division of television. We don't have any anthologies anymore, do we?
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There's no story that breaks, including a five-alarm fire in Brooklyn, that I don't wish I were covering.
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Everybody comes to film differently; everybody has different backgrounds. Just find whatever your lane is naturally. Don't try to force yourself into someone else's vision or try to tell a story that you're not passionate about.
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I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling.
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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.
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Starting out, they told me: 'You're a good-looking guy. We'll put you in this role, and you can be a conduit for the audience into this side of the story.' But I've grown up, and that's not what I want anymore. My concept of the job I do has evolved. And it is a job, nothing more.
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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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While some debate its helpfulness at generating monetizable traffic, when Digg points to a story, huge audience spikes quickly follow.
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Everybody knows the story of The Smiths. You can still go and see Morrissey.
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When it comes to production and the overall sound, I don't really have a lot of intentions with it. I start off with melody and a lyrical idea, and then build off of that story.
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What the detective story is about is not murder but the restoration of order.
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Everybody has a story... and a scream.
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I'm a storyteller – that's my chamber, that's my box. I'm always tryin' to give you the best story from our side of the table that you could really relate to quick. I understand where I wanna be at, but sometimes the production takes me where I need to go.
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A story is built on characters and reasons.
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The Beatles' story is all of our stories.
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'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.
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Well, you know, I never want to feel like I have a set plan of what I'm supposed to do. I kind of like to go script by script, and if I like the character and like the story that's why I want to do a movie.
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You cannot get PTSD from reading a book or from hearing a story, even repeated stories over and over.
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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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Moviewise, I would love to make the story of princess Erendira. She was a 16 year old princess/warrior who led her tribe in war against the Spanish around 1513. She almost defeated them, and the Tarascans were the only tribe the Aztecs couldn't defeat.
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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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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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Of, course it always cheers a news editor when a story has what we describe as 'legs' therefore it, erm, runs.
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A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.
