'The Lady' is an incredible love story about how a family was cut off from each other, about sacrifice, about the ability to put the needs of million of people before your own.
Well, there are conjoined twins in real life and we can tell a story about them so long as they're not the brunt of the jokes. In this, they're the heroes of this story; we love these guys.
I've done a lot of theater, and I know that it's a different audience each time who doesn't know the story, and we have to tell it.
After you've written a story, the thing to do is sell it. Sounds simple, and it is, if one will follow certain basic principles of salesmanship.
When the narrator says, 'This is a story without surprises,' most of the time, this is not what happens.
I've never looked at my career in terms of, What haven't I done that I want to do? I just generally find a story that I think is a good one and go to work.
'The Lion' all began with a picture of a faun carrying an umbrella and parcels in a snowy wood. This picture had been in my mind since I was about sixteen. Then one day, when I was about forty, I said to myself, 'Let's try to make a story about it.'
Producing is easier, I can just be at the set overseeing the story.
I once wrote a short story called 'The Best Blues Singer in the World,' and it went like this: 'The streets that Balboa walked were his own private ocean, and Balboa was drowning.' End of story. That says it all. Nothing else to say. I've been rewriting that same story over and over again. All my plays are rewriting that same story.
'East of Eden' is an important story for me. It's about a kid that's misunderstood and feels like he's not loved by his father. It's a very father-son kind of story, and it's not until the end that they sort of make up. I like that because every boy has trouble with his father, so it's very relatable.
Nigeria has had a complicated colonial history. My work has examined that part of our story extensively.
With the first 'Toy Story,' we didn't know what the hell we were doing. We'd never made a movie before, so we went down a lot of blind alleys along the way. We went through seven different writers before we finally settled into our groove.
The grand scale and immersive nature of The IMAX Experience gives 'Spiderwick' a brand new level of excitement. In IMAX theatres, fans will be drawn into the movie even further and feel as if they are actually part of the story.
Being in the industry, I've seen many situations where someone will get the call from the network where they say 'You guys have 5 episodes to wrap it up.' Then all your long-term story arcs gotta get wrapped up in five episodes because that's how many episodes you got left. I would hate to see that happen to 'Castle'.
Objects in pictures should so be arranged as by their very position to tell their own story.
Once we got over the origin story, we could really delve deeper into their lives and characters and angst. So this movie actually has more heart, more humor.
My fans don't feel like I hold anything back from them. They know whatever I'm going through now, they'll hear about it on a record someday. They'll hear the real story. There's a little bit of lag time. It's not as instant as going on a gossip blog. But it's much more accurate.
My job as an author - at least the way I think of it - is to make a story that is coded and puzzling enough to entice conversation and interpretation, but also to do the opposite: to make some things clear so that it is meaningful in some way, not just a random assemblage of ideas.
To say that I am organized is an understatement, but my car tells a different story.
I think it is nice for people to appreciate a slow-burning, beautiful story that makes you feel good when it is over.
If you're a father of a child who dies, it's an experience that never leaves you. It scars you forever and ever and ever. And so when I do any kind of story with somebody who's in the same position as my daughter was, there's no question that something comes out of me and embraces that story in a way that only a father who lost a child could.
I feel for Veronica Mars so much when I'm watching at home. It is a wonderful story. The writing is consistently funny, biting, charming, heart-wrenching, etc. I also like the look of it. The cinematography - different from any other show.
I love the three-act theory. It works and works beautifully. But you don't necessarily have to structure a story that way: Cortazar and Borges wrote in different structural styles.
I did a film called 'Worlds Apart' about a Jehovah's Witness. I was the love interest - the male lead - but the story was about the female lead, a young girl who is a part of this cult, and she wants to break out. She meets a guy who has to help her. She has to find out who she is. It's more like a coming of age story.
But, on another level it's really sort of this really cool coming of age story, it reminds me of like The Breakfast Club or something like that, if I can be so bold to associate with The Breakfast Club.
And were an epitaph to be my story I'd have a short one ready for my own. I would have written of me on my stone: I had a lover's quarrel with the world.
When I'm writing a book, sentence by sentence, I'm not thinking theoretically. I'm just trying to work out the story from inside the characters I've got.
I was doing some research on menstruation for a column. I read about Arunachalam Muruganantham's life and work, and his story gripped me, and that is when I sat down, wrote the first few pages, and sent them off to my editor to have a look.
Tatiana Alvarez, who also became a queen of the wheels of steel in L.A., has now sold her incredible cross-dressing, reverse 'Tootsie' story to Warner Bros. in Hollywood, and hotshot producers Mike Medavoy, Brian Medavoy and Erwin More have reunited to turn it into a movie.
Film-makers must decide what story to tell and how to tell it.
I'm a big veteran of being able to, in one comic, explain to you everything that you need to know to get forward in the story without you having to refer back to years of continuity and a universe in these superhero comics.
Almost every story has a romantic angle to it.
Better the rudest work that tells a story or records a fact, than the richest without meaning.
The technology available for film-making now is incredible, but I am a big believer that it's all in the story.
I have a daughter who's 11 years old. Maybe she'll grow up independent and really really heavy and become a movie star and she'll play me in my life story.
In 'Hardflip,' you have a relationship where the father and son haven't seen each other in 18 years, but they find they're very alike: pigheaded, stubborn, passionate. It's a wonderful story of how you can't get away from how similar you and your children are.
