Sometimes I can't get out of the character because the story is very intense.
'Banshee' is the story of a man who gets out of prison, tracks down his long-lost love, and tries to reclaim what was stolen from him years earlier by assuming the identity of a sheriff. I guess you could say it's an explosive action drama - sit down, strap in, and enjoy the ride!
When I started writing 'Luck in the Shadows,' I just wanted to create an adventure story.
I said all along I would not sell my story. I don't think it would be right.
Well, I think they're all basically the same story. Every culture in the world has them. When you strip it down and analyze it, it's the young man or girl who goes through a trial or ordeal and hits a very low ebb but manages to get guidance from a Merlin type figure.
I don't know if this is a stumbling block, but I had a real setback when I won a Nebula Award for the first story I ever had nominated for a Nebula in 1982. And you might think that was a good thing - and it was a wonderful thing, I don't regret it a bit. But I was sort of discombobulated by it.
My theory is that everything an actor does, from the way he looks at his watch to the way he moves across the stage, is in the service of advancing a story, and in that sense, it's all writing. In that sense we, while acting, write.
I loved being asked 2,000 questions a day, storyboarding every move, knowing as though by instinct exactly where the camera had to be, because it was my story.
I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.
You gotta make sure the listener is listening to you, so if you put it into a song, often times, if the song is striking enough, then you can really deliver the story most effectively while keeping the ear of the listener the whole time.
In The Name of the King is the right title. To be honest, I don't know who had the final idea for the title but I liked it and it has a strong connection to the movie's story.
But the most important thing about that story, which is not often told, is that as a result after the Cuban missile crisis, immediate steps were taken to correct our inability to collect on the movement of nuclear material out of the Soviet Union to other places.
When actors are the real deal, all that star whatever goes right out the window and you're there to tell a story.
I don't teach literature from my perspective as 'Joyce Carol Oates.' I try to teach fiction from the perspective of each writer. If I'm teaching a story by Hemingway, my endeavor is to present the story that Hemingway wrote in its fullest realization.
I know the responsibility that entails from telling a story. The one thing I despise the most is when I go to a movie and I see a whole bunch of lazy actors making me waste my time and money.
People in life take on certain stories and say, 'I'm going to be defined by this story and I'm going to live up to every inch of this story.' Sometimes you realize the story isn't fulfilling you and in fact you're not living the life that you're given.
I'm a storyteller, not a prophet. I'm just interested in a good story.
One of my greatest pleasures is falling into a story someone else has written.
Then there's the story of ill-fated love. It's universal.
I was not a very popular kid in high school, and I had this idea that the way that I dressed would change how liked I was. It was that kind of Pygmalion story. I think, ultimately that's probably why I became interested in fashion, its transformative power, and how it can change your identity.
I'm pretty disciplined to keep the momentum of a story going by writing everyday, even if it's only a couple paragraphs or a page or two.
Well, the whole story is in the book, but the short answer is that I was the first information architect in an organization that was traditionally design-oriented, and I felt I needed a tool to help me gain the trust and support of my colleagues.
I wouldn't like to just do one story or one type of stories all the time.
But when 9/11 struck, I had a change of heart. I knew the story had to be told because what happened at 9/11 is a direct result of what the economic hit men are doing.
You write a story about loneliness, and you grab them all because everybody's an expert on that one.
I don't know if I have a brand. I just see myself as an athlete and a competitor, someone who just works really hard at trying to get better at golf. I guess I'm kind of the feel-good story who's seen every level of professional golf.
People's imaginations are sort of there for the taking, I guess. If you tell the story right, you're going to hook them.
Our job is to make manifest the story, to be it. In a sense, the theatre is such a big star itself, bigger than any Shakespearean actor I could hire, that we should take the opportunity to fill it with voice and verse and movement, not interpretation.
There's a reason the Exodus story has inspired so many Americans. It's a narrative of hope.
When 5150 came out rock was king. Post Nirvana and Pearl Jam 1996 is a different story.
The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.
Well, that's the old story I heard about the Jackie Chan films. That, like, Jackie Chan will just keep going and when crew members drop he just replaces them. I don't know if that's true but after having worked in Japan I believe it might be true.
Jewish comedy doesn't come out of nothing. Jewish music doesn't come out of nothing... I don't want to be part of a story where Jews are just victims or bullies - and I'm not saying that's what the Israelis are.
You know someone is your favorite person when you've done a day of press, listened to yourself ad nauseam, listened to them tell every story, and when it ends, it's like, 'Are we going to eat something?'
As filmmakers, we're constantly always looking for something to bring the audience deeper into the reality of the story we're telling.
I'm not sure if my story will become a movie. Some of my western friends sent my story to people they know in the movie industry. But one consistent response was there aren't any main western characters in my story, so it's unlikely to be made into a movie in English.
