When you're writing for a show, you're writing part of the script. You have to tell the story.
There's no worse crime in journalism these days than simply deciding something's a story because Drudge links to it.
I think 'West Side Story' is one of the greatest, if not the greatest, musicals ever put onscreen - or stage, for that matter. I, frankly, like Zeffirelli's 'Romeo and Juliet' very much, too. I grew up with that... I loved it. I loved the score; I loved the acting.
When CNN does a story and then says, 'Tweet us what you think' - why? Why does it matter what I think? Why should my thoughts be broadcast on a national news program? It's enough for me to just sit and listen and learn.
The success of 'Rome' was in making the history accessible and giving viewers everyman characters through which they can connect to historical figures. It stops the story from being too remote.
I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.
I think that when you're making a story... that's based on somebody, the filmmaker has his duty to do his research.
If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.
I tell the story of eight forgotten founders, people like Canassatego, an Iroquois Indian Chief, who taught Benjamin Franklin about federalism, about the idea that you can form a confederacy in which the central power has only limited powers and local control is retained.
You can't write a story about a mental hospital in the United States without facing the grand example of 'Cuckoo's Nest.'
We like the challenge of a story around the most generic, forgettable man in the universe.
I do think novels are overlooked. I did write one some years ago that I think is quite good, called 'The End of the Story,' not to blow my own horn.
I love a great myth. I love a superhero origin story.
When you write something you know, you're making a story that will work, whether or not there's bits taken. It's always funny to me when people say, 'Well, it's clearly autobiographical,' and I say, 'Well, how do you know my autobiography?' Certainly, there are things that are connected, but I just think it's a very interesting assumption.
I didn't particularly change my name to Fonda because I knew who Fondas were. It's still going to remain a mystery. I keep it as a mystery. So, maybe one day I'll tell the story of how I changed my last name.
By the year 1670, wooden chimneys and log houses of the Plymouth and Bay colonies were replaced by more sightly houses of two stories, which were frequently built with the second story jutting out a foot or two over the first, and sometimes with the attic story still further extending over the second story.
If you're having trouble finishing a book, it might be that you're trying to fix it as you go. Just finish the story, no matter how terrible you think that first draft is. Then let it cool off. In other words, don't look at it for a while. Then you can rewrite it.
You are carving out a story. You and your colleagues are trying to make something that is bigger than yourself. Although it can be a scary experience because you're putting your work out on the line, it's also incredibly rewarding because a lot of it comes from you.
I adapted an O. Henry short story called 'By Courier,' which got nominated for a Best Short Subject Oscar.
At its heart, 'Fat City' is not about boxing. It is a universal story of grim realities and toxic delusions. It is awash with awareness of chances blown, dreams stymied, precious time wasted, and all future prospects scorched to ashes by the process.
I find inspiration in many places. Sometimes music gives me the kernel of a story. Sometimes it's dissatisfaction with the plot of a movie or a book that gets me thinking. Sometimes it's love of a movie or book.
I was told in many places of Osgar's bravery and Goll's strength and Conan's bitter tongue, and the arguments of Oisin and Patrick. And I have often been given the story of Oisin's journey to Tir-nan-Og, the Country of the Young, that is, as I am told, a fine place and everything that is good is in it.
I like stories in specific time periods. 'The Revenant's' era of American history was fascinating because it was this lawless no-man's land. It defined the idea of the American frontiersman as man conquering nature. In a way, the story of Hugh Glass is about man dominating nature.
A good story will keep you wondering about what's happening, what's going on, where does this go? Now it's going to go that way, now it's going to go that way. It has to do that. If it's predictable, it's just boring.
If the breaking news story had to do with hard news, politics specifically, I had a lot to do with it. If it had to do with music, Kurt Loder was more involved.
I think I would love a shot at remaking 'The Philadelphia Story,' as daunting as it is. I still think it's fantastic. I love the '30s comedies because they're allowed to be both comic and elegant, and the women are so complicated in them.
I just think people have a lot of fiction. But, you know, I mean, the real story of Facebook is just that we've worked so hard for all this time. I mean, the real story is actually probably pretty boring, right? I mean, we just sat at our computers for six years and coded.
I'm a voyeur. I say that with no embarrassment. If I could have a superpower, being invisible would be it, no question. I'm fascinated by human behavior; observing people and seeing how much story gets told without a lot of dialogue, and how much our brain fills in.
People that have known me for a while tell me how they see me grown as an artist and as a writer. I think that this comes with continuing writing each day. I try to write as often as I can and explore more while I do it. I feel more comfortable with opening up and telling more of my story to everyone.
Every actor chooses their story at the beginning.
Comics don't work if the story is all in the text and the images are illustrative. It's hard to have enough faith in the artists to allow them to do their job.
The further you go, what, I'm gonna wait til I'm 80? Naw, I'm tellin' my story now. I was just moved. I was moved to tell my story. You know? People write books all the time.
Obviously I am a photographer and I believe in my medium: I do think that powerful photographs can force change. It doesn't take long to look and be engaged in a strong image whereas, with a story, you have to actually sit down and pause and be involved in it.
For me as a writer, the story has always taken precedence over everything else. I have never sat down to write with broad, sweeping ideas in mind, and certainly never with a specific agenda.
I definitely am a performer, and there are different styles of stand-up; I mean, some people are writers and they get onstage to get jokes out, and that's definitely not what I do. I like to just go up and, if I'm telling a story about someone, I'll play his or her part.
My whole story is straight mythical. It's tangible, but it's also what life could be.
