Not to make him blush, but any story illustrated by Mike Mignola does things that prose alone can't accomplish. The illustrations create mood and atmosphere, drawing the reader more deeply into the story than words could do on their own.
The coming-of-age story has sort of become a joke. It's something to capitalize on, and that is painful because when you are coming of age - when you are going through something like that - the genre is so meaningful.
Sometimes the kids come up with better endings than the real story.
My first big role was when I was 17 and I got the part playing Maria in 'West Side Story' in my school production.
I have a great little camera, and I had a theory that if the story is interesting, it doesn't matter what medium you shoot it on. You just have to make a good film.
It is clear that when you write a story that takes place in the past, you try to show what really happened in those times. But you are always moved by the suspicion that you are also showing something about our contemporary world.
Typically, when you sell your story rights to a movie production company, they can do whatever they want with it. The writer is typically not involved anymore.
'Comic book' has come to mean a specific genre, not a story form, in people's minds. So someone will call 'Die Hard' a 'comic-book movie,' when it has nothing to do with comic books. I'd rather have comics be the vehicle by which stories are told.
I do know something about the news world. I was sitting on the floors of newsrooms since I was seven years old, and I've been around them my whole life. I understand that someone looks at a story with famous people in it, and you want to put it out.
No American can read the story of the part America took in the war without experiencing a glow of patriotic feeling. Every Allied nation can say the same thing.
I was never raised with the traditional story of creation in religion, and because of that I think I had a lot of questions. And evolution, the evolutionary narrative, helped provide some of that for me.
Too often a story is examined through biased eyes, without a sensitivity for everyone who forged it. It's seen from the point of view of the great white savior, and rarely is the perspective of the slave a part.
When you're telling a story, the best stories, every character has an arc. Every one. And that arc is usually about finding yourself, or about at least finding something about yourself that you didn't know.
I believe that my experience as an HBO executive responsible for global marketing and communications should serve our country well as we tell America's story in Spain and Andorra.
I believe people leave a theater bonding with characters. Story is the vessel that carries character. Comedy is a very important component of expressing character.
Films don't always tell a story; some films can achieve effect just by being razzle-dazzle or rock n' roll. That's part of the fare that's out there. And that's okay. For me, I place more value on a story.
Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.'
Surreal fiction is a sophisticated art form. Events happen divorced from conventional logic, as events in a dream may happen. But unlike dreams, everything in the story contributes to an overall coherent point, impression or emotion.
When was the last time you saw a straight black love story without any guns?
I'm always amazed how many politicians have a very unlikely story, and when I talk to groups of students, I remind them that not everybody who gets into politics is a lawyer or went to school to study it. We all come to it for different reasons.
If not for the success that medicine has made, I might be part of a much different story right now.
Everything that I can do to ground the story in reality helps make it harder for people to be dismissive of it.
In writing a weird story, I always try very carefully to achieve the right mood and atmosphere and place the emphasis where it belongs.
But every day I tell my story, and be comfortable with my story and be comfortable with what I've done, and what I did, and how I am today, it lessens the likelihood it will ever happen.
Look at the world of both film and indie games, and you'll find a startling similarity between the two when it comes to creating the perfect horror story. The tricks storytellers pull to make your blood run cold never change; a creaking floorboard, the eerie feeling of being watched, wandering into a world filled with unspeakable terror.
There is a sort of genre of optimistic science fiction that I like, and I don't think there is enough of. One of my favourites is a short story by Arthur C. Clarke, 'The City and the Stars.' It's set in this far future on Earth in this somewhat static society and trying to break out.
I feel like I've come out of this grown up, maybe because I live through the character vicariously and she grows up so much during the course of this story.
I usually talk about clothes in terms of a story rather than a colour.
We give you this story. It is for the audience to be moved and gut wrenched, not us. It isn't as if we don't go through those real feeling and it isn't as if I don't cry three or four times a night. I usually do.
A poem I write is not just about me; it is about national identity, not just regional but national, the history of people in relation to other people. I reach for these outward stories to make sense of my own life, and how my story intersects with a larger public history.
So many of the great thought leaders that have shaped economics - Gary Becker, Milton Friedman - what an unbelievable success story they've had in their field.
Stories matter to me. I look for a good script, story, and a strong part.
I always have the best story at the party. Anyone telling a story at a party is like, 'No, no, you've got to listen to my story!' I'm like, 'Step aside, everybody. I'm going to blow the doors off this place.'
Basically, I learned to read by reading 'Peanuts,' just wanting to know what they were saying. I was 4 or 5 or whatever. I think it's a fairly common story.
We seek to craft characters who inspire empathy: characters our audience will care for and, as a result, will care about what happens to them and thus will share the journey we have charted. A story, after all, is the character's journey.
'Emily Rose' was based on a real story, and the real girl died, and there were surviving members of the family, so I took the concerns of that very seriously.
