Tom Kizzia hasn't just observed and written about Alaska for three-plus decades, he's lived it. 'Pilgrim's Wilderness' is a story that needed to be told by the only man who could tell it.
'Marley and Me' was a book I was proud of and believed in, but I thought it would just have a modest audience because it is such a personal story about my marriage and my family.
Good twists are enormously hard to come by, and I think the best ones are earned ones. The idea that a story can take a left turn on you, it's easy to do, but it has to be done very, very carefully, or else you risk losing the audience's trust.
People, they think that animation is a style. Animation is just a technique. It's like, people, they think that comics is a style, like comics is a superhero story. Comic is just a narration, and is a medium, you can say any kind of story in comics and you can say of any kind of story in animation.
I think the same way about theatre, you go out there and you are creating a world for a moment that can actually have a real impact on people, present some kind of story that gives you something to think about when you walk away, feeling enriched - if it works out well.
When you do not have the dialogue to explain things, you will use everything to show and to tell the story. I think that this is what makes you believe that it is impeccable.
To be an Indian writer is to write, necessarily and inevitably, about politics, so it was a given that the story of the Ghoshes, the family at the centre of 'The Lives of Others,' should have a political soul.
The public history of modern art is the story of conventional people not knowing what they are dealing with.
The Republicans are not anti-Latinos. You know, I tell the story all the time that the Tea Party is the one that has actually brought out the Latinos. Look at Idaho. I actually ran against a person in my primary who was born and raised in Idaho who happened to be Caucasian, and they elected the guy who was from Puerto Rico with an accent.
A memoir should have some uplifting quality, inspiring or illuminating, and that's what separates a life story that can influence other people.
Sometimes you have to go places with characters and emotions within yourself you don't want to do, but you have a duty to the story and as a storyteller to do it.
I read the Odyssey because it was the story of a man who returned home after being absent for more than twenty years and was recognized only by his dog.
What we're doing with Band of Brothers is trying to put it into human terms, so it is not just a flickering, black and white myth on a screen, it is a resonant story. I want the audience to recognize themselves in these men. They're not just mythic heroes.
But, in North Korea, it's just the opposite. There's one story. It's written by the Kim regime. And 23 million people are conscripted to be secondary characters. There, as a youth, your aptitude towards certain jobs is measured, and the rest of your life is dictated, whether you'll be a fisherman or a farmer or an opera singer.
The story of the week is you have got to putt well to win the Masters and I haven't putted well.
Everyone is trying to do something that hasn't been done and that's a really good thing. You can only do so much with a story and some scripts don't give you the opportunities and other scripts do give you the opportunities to do things that haven't been done before.
My only requirement for that first story was that there had to be a fight or an explosion on every page. Naturally, no one wanted to publish it, but I liked the character, did a few stories to keep my hand in.
This story's gonna grab people. It's about this guy, he's crazy about this girl, but he likes to wear dresses. Should he tell her? Should he not tell her? He's torn, Georgie. This is drama.
The themes, ideas and the characters from 'Skyfall' can obviously continue on, because it is a franchise, and it is an ongoing story.
Actually ideas are everywhere. It's the paperwork, that is, sitting down and thinking them into a coherent story, trying to find just the right words, that can and usually does get to be labor.
I think we do have our true, original stories that work. I can tell you that 'The King's Speech,' which we did, became a worldwide smash because people loved the personal story.
He invented this idea of telling the life story of a great writer through becoming his characters and becoming him. It was such a pleasure and I thought we must find another writer.
They can certainly expect to be very impressed with the technical aspects of the show, fooled and led up the garden path by the story and ultimately have a jolly good laugh!
I've traveled around the world and made love with many satisfied women. So I decided to share my story.
All art to me is an empathetic act. Whoever's telling a story is trying to transfer emotion into someone else.
What I like about fairy tales is that they highlight the emotions within a story. The situations aren't real, with falling stars and pirates. But what you do relate to is the emotions that the characters feel.
I think I started writing about identity, and I used to believe that identity is the story. But now I'm not so much subscribed to that. I mean, with 'Mr. Fox,' it has a feminist agenda as well. And so, as I sort of been away from writing about identity, I still feel that kind of tug of roots and, you know, cultural background.
The whole story of the comfort women, the system of forced sexual slavery, the medical experiments of Unit 731, is not something that is in the US psyche. That is changing because many books are coming out.
It's of course important to mention that when DJing, I'm building my own story through the music. I'm figuring out what song to play next, what song to play after that, and how the two will blend together. How the emotion is going to develop from one song to another. So I first build that storyline.
The most important thing to realise is that everyone is capable of telling a story. It doesn't matter where we were born or how we grew up.
I'm not one of those people who had a burning passion for 'Peter Pan' all my life. Although I can't remember a time when I didn't know the story, I didn't carry around with me an ambition to one day write the sequel.
They have a book of locations, and we would do a story about the Sahara Desert for instance, and in the California book you would find a comparable location, to match that location in California.
I think what the story of Yes has been is we've wandered in and out of different styles over the years.
They're just not into doing sequels after Toy Story so I don't think that's a possibility. But if they did, well sure, you'd have to do it. And I'd want to do it.
It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.
Recounting of a life story, a mind thinking aloud leads one inevitably to the consideration of problems which are no longer psychological but spiritual.
