Story Quotes
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The job of the screenplay is to identify and extract the essence of the story from the novel and reconfigure it for the screen, maintaining its essence in a different vehicle.
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There's a personal story of my own that I will write at some point, and it's a film that I will happily make. It could very well be the next thing I do, unless someone shows me something great.
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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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When you're a storyteller, part of the process of storytelling is the kind of communion you form with the audience to whom you're telling your story. If some segment of the audience doesn't like that story, it doesn't feel good.
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We may not know the whole story in our lifetime.
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In the world of classical ballet there are only a handful of story ballets, so getting a new one is cause for excitement.
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When readers close the covers on 'Running the Rift,' I want them to understand that it is not a genocide novel but rather a story of hope and rebirth.
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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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Historians tell the story of the past, novelists the story of the present.
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Whether it's 'The West Wing' or anything else, my first thought is always, 'What's a good story?'
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Story and plot, not historical facts, are the engine of a novel, but I was committed to working through the grain of actual history and coming to something, an overall effect, which approximated truth.
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The most difficult story that I've ever been involved in breaking on any of my shows was 'The Constant' episode of 'Lost,' which was when Desmond was consciousness-traveling.
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'Air' is very placeless - it's set in many different countries, and much of the story is about going places rather than being places. 'Air' is about travelers, and I'm a chronic traveler.
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Obviously, for me, story is first and foremost, even in the face of the attractive idea of having all the cast there, or having a great piece of talent come to it.
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Show me an Irishman who can't tell a story – I don't think they exist.
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I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.
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The more ways you can tell a story and paint a picture, the better it is.
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In my story you're the villain. But in my heart, you're still the reigning King.
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I felt like the country lays out like a pretty beautiful story itself, heading from the East Coast to West.
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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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To me, White Boy Shuffle is sort of like Catcher in the Rye, the story is so universal.
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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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When I wrote 'The Da Vinci Code,' I told myself that this story of Jesus makes more sense to me than the story I read in the Bible.
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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.
