'Stargate' has always had this empty hole. When we made the first one, we always intended on doing part two and three, and we were prevented for years. And our hope is that we can get another chance at 'Stargate' and tell the entire story we wanted to tell.
I think when you're telling a story from inside of you that's genuine, people connect with it.
My hope is that 'Beyond the Heavens' will encourage people to explore faith, open their mind and go beyond what they think they know. That is what my mother encouraged me to do. I hope to encourage others to do the same through this story.
'Harold and Maude' was a seminal movie for me because it's not only a beautiful love story, but it's also about the moment when misfits find each other.
I use New York to talk about home, but the ideas in 'Colossus' could be transferred to other cities. The story about Central Park is really about the first day of spring in any park. The Coney Island chapter is really about beaches and summer and heat waves.
Opera is the ultimate art form. It has singing and music and drama and dance and emotion and story.
Lots of times when I'm offered things, I can't see how a story gets filmed. Either it's too internal or it doesn't have a strong spine.
A departure from the movie with Michael J. Fox, 'Teen Wolf' tells the story of how a group of angsty teens deal with werewolves, their supernatural kin and the world of trouble that comes with it, all while trying to still live their lives.
I no longer feel attracted to the well-made novel. I want to write the story that will zero in and give you intense, but not connected, moments of experience. I guess that's the way I see life. People remake themselves bit by bit and do things they don't understand.
Stories of all lengths and depths come from different parts of the cave. For a novel, you must lay in mental, physical and spiritual provision as for a siege or for a time of hectic explosions, while a short story is, or can be, a steady, timed flame like the lighting of a blow lamp on a building site full of dry tinder.
The history of black people in Manhattan is a story of people getting pushed farther uptown as land acquires new uses and increases in value.
A lot of my early career, I wrote story songs that had narratives, that had plots.
I went to prison; therefore, I've been rehabilitated, and now I want to get on with my life. I have paid for what I did, end of story.
It is possible to take the story of Noah figuratively, although virtually every Near East ancient civilization has its own version of the flood story (including the amoral epic of Gilgamesh).
I tend to gravitate toward reporters who cover all aspects of the story: from personal aspects to the big picture that answer the 'so what' of a story.
Basically, I just write whatever story grabs me rather than considering the genre.
I hate SF books that think all you need to make a book is cool technology and mind-bending ideas without a decent plot or characters. And I hate when fantasy books are allowed to ramble off into five hundred page diatribes which don't advance the story one bit.
Whether it's standing backstage with Jennifer Lopez in a dress that I know everyone will be talking about tomorrow... or being there when incredible news breaks, and instead where people sit in front of their TVs and look at it, I'm the person who goes there to bring you the story... It's amazing. It's unbelievable.
The most extraordinary thing about trying to piece together the missing links in the evolutionary story is that when you do find a missing link and put it in the story, you suddenly need all these other missing links to connect to the new discovery. The gaps and questions actually increase - it's extraordinary.
Obviously, I love to do both contemporary and historical fiction. When a hint of a story grabs me, I try to go with it to see where it will take me whatever the setting.
Some years ago, I read Thomas Carlyle's history of the French Revolution, and I was very taken by the way he told the story, and it seemed as though I was right in the middle of things. And it took me a while to figure out how he achieved that effect, and one of the ways was to write it in the present tense.
I like to think that I am telling a story rather than writing it.
So when you tell a joke, you want to make someone laugh, or if you tell a story about someone who had a heart attack, it may be because you want the listener to exercise. Stories are tools to create social cohesion and to get humans to strategize together.
I like the story about Henry David Thoreau, who, when he was on his death bed, his family sent for a minister. The minister said, 'Henry, have you made your peace with God?' Thoreau said, 'I didn't know we'd quarreled.'
If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.
While most of the things you've worried about have never happened, it's a different story with the things you haven't worried about. They are the ones that happen.
Really I'm a fan of any movie, whether it's suspense, action, or comedy - anything that has a good story.
Our culture already has a number of well known stories about artificial life and non-human intelligence. In 'Exegesis,' I've tried to not only tell a new and engaging story but also to comment on those well known stories through the details of my novel.
I don't think you can cry if the script is rubbish. I have to feel it; it's as simple as that. It's just like if you're watching something moving, and you feel yourself welling up. It's the same thing. You're just being carried along with the story. There's nothing magical about it. I think I'm in touch with my emotions, and I can't help it.
'American Horror Story' is dark, so you shouldn't be expecting too much happiness.
I just like a good story. I want the story to be good and I want the character to be different than the last one I played. That's not always possible, but that's what I want.
I just write and do what I think is funny. Sometimes, you do have it in your head about certain bits. There are certain jokes where I know if I did them in certain situations, it would irk people. There are times where I look at the news and see a story going on, and I'm like, 'Wow, if I tweeted this, I would get press if I wanted to.'
I think I have a job, which is to present a character in a story and entertain you and divert you with my work - that's it.
In the South, we tell stories. We tell stories if you're in a sales position, if you're in a retail position, you lure your customer by telling a story. You just do.
When I think about my great conversations with Marlon Brando on the set of 'Morituri,' I think there's a story there, just as I do with my experience working with James Cameron on 'Titanic.' And then there are all my years on 'Y&R' and all that has happened there.
I just use my life story as a kind of device on which to hang comic observations. It's not my interest or instinct to tell the world anything pertinent about myself or my family.
