As a child, I loved story books and wanted to be in them so desperately and live the stories.
Everybody knows how fallible memory can sometimes be. You remember certain fragments precisely, but as soon as you try to join the fragments together, for a story, there is a certain - not falsification, but a shifting.
I was working at a restaurant in L.A. when a producer came in. He said I should audition for this movie 'Cellular.' I did, and I got the part. It actually makes me sick to tell that story because it's obnoxious.
I sign a film based on the story, the role I play, and the maker.
As an actor, that's the most that you can hope for - not only being part of a story, but being part of a story that matters.
I do think the story in Halloween 5 is a bit stupid, and there's a lot more blood. They're obviously going to take the Halloween series in a different direction.
I was really the first-line editor of the 'House of Night' series. I didn't write that much of the story, and I didn't know what was happening until my mom finished the book and sent it to me because I wanted to read it with fresh eyes as a general reader would.
If a fantasy, if a story can help you feel something, I think that's really cool.
I started writing to please myself, a story I would like to read, and that is still true.
For 'Prometheus,' I came back to a very simple question that haunted me that appears in the first 'Alien,' and no one answered in subsequent Alien films: who was the 'Space Jockey' - the big guy in the seat? If you really go into that, it becomes the basis for a pretty interesting story.
If I can tell you the story from beginning to end in five minutes, I'm ready to start writing. Then it's a constant spreading out of that five minutes.
'Parava,' in my head, was always a film about children. And I was like, 'If I can be part of the film and help promote it in some way or the other, I'd be very happy.' I also did 'Ann Maria' because it was a story about kids.
The same way that you are the main character of your story, you are only a secondary character in everybody else's story.
So often corporate America, business America, are the worst communicators, because all they understand are facts, and they cannot tell a story. They know how to explain their quarterly results, but they don't know how to explain what they mean.
When Ulysses hears his own story sung by an epic poet and then he reveals his identity and the poet wants to continue singing, Ulysses isn't interested any longer. That's very astonishing.
I'd much rather see a world where, when you make some quirky comment on a blog or news story or you upload a video clip, instead of just a moment of fame for your pseudonym, you'll get 50 bucks. The first time that happens, you'll realise that you're a full-class citizen. You have the potential to make money from the system.
I think the most rewarding part for me is kind of not knowing where the story's going next, and then finding out and being blown away by it.
When I am working on a book or a story, I write every morning as soon after first light as possible. There is no one to disturb you, and it is cool or cold, and you come to your work and warm as you write.
When it comes to production and the overall sound, I don't really have a lot of intentions with it. I start off with melody and a lyrical idea, and then build off of that story.
Truly great performers reveal not only their characters but bring everything they know about the world with them. It's not just what's in the script but the story of everything you've done and of who you are. If you're Chaplin, you're the immigrant. No matter what he's doing, he's always the little guy trying to make his place in the world.
I have the 'thing' worked out - the trick or the surprise or the pivotal fact. Then I just start somewhere and let the story work itself out.
I was just fascinated with how everyone else in the world lived, and I was interested in telling their story.
'Guild Wars 2' is a wider world in that we have a lot of different mechanics available for storytelling. We have our personal story, the story of you, which is tailored for your character. You answer some basic questions; you make some decisions early on, and that follows through.
I never intended to be a professional writer; as the story developed, the one thing I had in my hopes was that this would be something tangible to separate me from the nameless, numbered masses.
The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing, and put it into a story.
I think horror or science fiction is another way of telling a modern myth - it's like Ancient Greece; it's like kids couldn't wait for the next 'Orpheus' story, the next 'Jason and the Argonauts.'
And that if you become a star, people are going to go to see you. If you remain an actor, they're going to go and see the story you're in.
It's always hard, when introducing readers to a new world/set of rules, not to lay it all out manual-style in the opening chapters but make sure to put the action and the characters at the front. If people don't become invested in them and in the story, the world in which it's set will become a burden.
No one has really heard my side of the story, the adventure we had together, the transformation that I had going from a schoolgirl to a woman overnight.
Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.
For that story, I took as my subject a young woman whom I got to know over the course of a couple of visits. I never saw her having any health problems - but I knew she wanted to be married.
I think 'Overlord' has definitely benefited because I work with every single level designer, and working where we have space to tell the story. That's what it's all about - getting writers and storytellers involved in the team and being a back and forth process.
You have to figure out who the right person is to tell the story. And often, people who are very self-aware will only sound as if they are pontificating if they tell the story.
Action films are great, but an action film that has characters that are compelling and a story that people can care about is something even better. We love to see action heroes that are vulnerable, that are sensitive, that are family people, that are accessible.
I hate when you see a film and after one scene you know what's going to happen and you can predict the whole story.
It's such a changing industry, and I realize that it's become more digital- and singles-driven, but I still love listening to a full record. It's the artist's story captured in 12 or 15 songs.
