I never was the story. The story was the story. Period.
I was fascinated that everybody in the story thinks that they're in the right.
The world would be a very sad place if readers could only love one story.
People know my story - how I started like they did and that I struggled with things, like being a working mom. They ask me things they wouldn't ask anyone else.
The entire economy relies on the suspension of disbelief. So does a fairy story or an animated cartoon. This means that no matter how soberly the financial experts dress, no matter how dry their language, the economy they worship can only ever be as plausible as an episode of 'SpongeBob SquarePants.'
Sometimes it's a character you want to play or a story you want to tell. Sometimes it's just to pay the bills.
Every villain needs her story told.
If you're a reporter, the easiest thing in the world is to get a story. The hardest thing is to verify. The old sins were about getting something wrong, that was a cardinal sin. The new sin is to be boring.
When words I uttered, believing them to be true, were exposed as false, I was constrained by my duties and loyalty to the President and unable to comment. But I promised reporters and the public that I would someday tell the whole story of what I knew.
I've got an extra-specific story about Dr. Dre. I saw him when I was 9 years old in Compton - him and Tupac. They were shooting the second 'California Love' video. My pops had seen him and ran back to the house and got me, put me on his neck, and we stood there watching Dre and Pac in a Bentley.
If two people believe in the same story, they might be thousands of miles apart and total strangers, but they still have a sense they can trust each other.
Triple D is all about three things: Food, story and character.
In campaign reporting more than any other kind of press coverage, reporters aren't just covering a story, they're a part of it - influencing outcomes, setting expectations, framing candidates - and despite what they tell themselves, it's impossible to both be a part of the action and report on it objectively.
There's nothing wrong with a male's point of view, obviously, but it's just a different way of telling a story.
They'll probably start working on my movie sometime... They are doing a complete movie of my life story. It will not be based on any negativity. It will be more about my life, from a kid, how I came up and why I came through.
I will do almost anything for the sake of a joke or for the sake of someone's real belief in something to help tell a story. I will not do something shocking for the sake of being nasty. If it's not hurting anyone's feelings, I'm in on the joke.
Right before I left ESPN, someone suggested doing a NFL story in the spring. The person was laughed out of the room.
A novel, in the end, is a container, a shape which you are trying to pour your story into.
You can't work in the movies. Movies are all about lighting. Very few filmmakers will concentrate on the story. You get very little rehearsal time, so anything you do onscreen is a kind of speed painting.
I always say that I take my life and turn it into story, and I certainly did that with 'Countdown'.
In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.
After 'Chen Zhen,' I wanted to make an emotional, touching story.
I can't tell a story about a working-class family on a premium channel that you have to pay to get.
Mellow doesn't always make for a good story, but it makes for a good life.
In the Seventies, a lot of executions via electric chair failed because of technical problems. Seed tells the true story of someone who survived and sought revenge. They buried him alive to make it seem he was dead.
In general, I think you can watch a movie in two different ways. One is the ethical point of view, one is the point of view of the story.
Ambiguity is necessary in some of my stories, not in all. In those, it certainly contributes to the richness of the story. I doubt that thematic closure is never attainable.
Let me tell you the story about Massachusetts under Governor Romney. It did fall to 47th out of 50 in jobs creation. Wages went down when they were going up in the rest of the country. He left his successor with debt and a deficit, and manufacturing jobs left that state at twice the rate as the rest of the country.
There's no environment. Use your imagination. There's no fourth wall, whether it's the first time you've told this story about her life, or the sixth time.
The unutterable violence of the Holocaust shook our confidence in the possibility of telling any story of faith at all.
In terms of the secrets that imbue and underlie 'Fall on Your Knees', they were as much of a mystery to me as I was creating the story as they are to the readers.
It is expected that a children's story will raise a difficulty and then resolve it: increasingly, this resolution is so prompt and so resounding that one forgets what exactly the difficulty was.
I think that any woman who had a conversation with me and had an opportunity to truly understand my life story wouldn't view it through a critical lens. There are people, of course, in the world of politics, who look for things to be critical about. But those people are already against you.
I don't know what gives me more pleasure: watching my story unfold or going in and watching a room full of black people talking for me and writing words for black people.
I do have screenplays I've written that never saw the light of day, but I don't usually go back to them. When I've told a story, I want to tell another story.
With any good story, you need the adversary, the heroes and villains. You need a good mixture to make it work.
