I always liked the Van Gogh story because I was terribly involved in that.
The filmmakers have a story they want to tell, and they go get the material they need for it. The film either exceeds or fails to meet up to their expectations or it's different.
I think I've played a lesbian about five times. The first one was with Helen Baxendale in a drama called 'The Investigator,' about the conditions lesbians had to live under in the army in Britain, which was based on a true story.
I wanted - and still want - to tell my mother's story. She fled Stalin's army in 1944, leaving Latvia, which was to be occupied by the Soviets for the next 50 years, and arrived to the U.S. when she was 11.
I have an idea for a story, and if the idea is going to work, then one of the characters steps forward, and I hear her voice telling the story. This is what has happened with all the books I've written in the first person.
I used to be more of a purist about literature. I thought, 'If it's a really propulsive story, then maybe there's something unliterary about it.'
I was a cartoonist when I was at university, but I decided to go into movie making knowing that I could still draw by doing movies, design work, story boards, and such.
I felt like Alan Turing's story was such an important story to tell, and it was so wonderful to write the script and other people find it and say, 'I never heard this story.' It's such an amazing story that people don't believe it.
You can't take a story and just stretch it out - that does not a novel make.
I think the name of the show, 'This American Life' - we named it that just because it seemed like it made the thing feel big. But we don't think about whether it's an American story or not. We happen to be Americans. I think for the stories to work, they have to be universal.
Since news breaks on digg very quickly, we face the same issues as newspapers which print a retraction for a story that was misreported. The difference with digg is that equal play can be given to both sides of a story, whereas with a newspaper, a retraction or correction is usually buried.
If I could remake any Eighties project, it would be less an action flick than a character-driven drama with a rich story to tell.
Every good story needs a hero. Back when I wrote 'The Search,' that hero was Google - the book wasn't about Google alone, but Google's narrative worked to drive the entire story.
My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
I like working in any medium. Who's making it? How much do I like the story? Does it contribute something?
You're encouraged to pitch your own story. That way, you'll have more control over what you do.
A writer's work often reflects what he or she has been exposed to in life; experiences which are the groundwork of a poem or a story.
Theater is just so much more satisfying than film or television just because you deliver the whole thing from start to finish in one evening, and you can tell if people have enjoyed it or not. That's great to do every night to go in front of a full room of people and tell the story. There's nothing like that really.
I'm 42 and the age of a guy who has kids, so I guess I'm playing right where I'm supposed to be. I'm comfortable with that, but in the same breath I'd do something edgy. If someone came to me and offered me an edgy and funny story, then I'd do it.
We want a story that starts out with an earthquake and works its way up to a climax.
I was miserable in West Side Story. They really miscast me. I came from the Midwest; what they really needed was a guy that was street smart. The first time I saw the movie, I had to walk out. I looked like the biggest fruit that ever walked on to film. My character was so weak.
I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.
The love story for me was the nature of the love and not the age of the lovers.
I feel my story has been exercised very thoroughly and very frequently.
I went to a large consolidated school in Appalachia. And I wrote the story when I was in the second grade and I took it up to the third floor to the school newspaper office that was written and edited by juniors and seniors.
So ultimately I am looking for a story that has some value and is important and is entertaining.
It's easy to set a story anywhere if you get a good guidebook and get some basic street names, and some descriptions, but, for me, yes, I am indebted to my travels to India for several of the stories.
I wanted to make sure that 'Up' wasn't a 3D movie about a man who sails his house to South America. It's a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.
If you want a happy ending, that depends, of course, on where you stop your story.
Guys hurt us first! There's always more to the story. We don't have that on the radio. You can't turn on the radio and hear what's really going on. You're going to hear the perspective from a guy.
History's like a story in a way: it depends on who's telling it.
The blues is nothing but a story... The verses which are sung in the blues is a true story, what people are doing... what they all went through. It's not just a song, see?
She is also brought to a point of zero in the beginning of the story, and I think you can say that about a lot of my films in that they are often about people who are brought to the point of zero in the beginning of the film.
'Farscape' is a story about family. It's a story about creating life in a harsh environment. That's what a lot of people relate to in the story.
The best and most sustainable love story for markets is one based on a healthy and dynamic real economy that creates jobs and opportunities for many more people.
Family is such a fundamental part of Islam, and women run the family. I had to force myself not to impose my own definition of political and social freedom on women in Islam, and approach each story objectively.