I'm not an overnight sensation. I'm a Texan. And I'm a Texas success story. I am the epitome of hard work and optimism.
I think it's wonderful when a love story begins with a great deal of romance and affection, passion and excitement, that's how it should be. But I don't necessarily know that it's the wisest thing in the world to expect that it ends there, or that it should, 30 years down the road, still look as it did on the night of your first kiss.
I think of my books now as suspense novels, usually with a love story incorporated. They're absolutely a lot harder to write than romances. They take more plotting and real character development.
American shows can go on for 20 years. I respond more to the British format. Three seasons is a long run for them to tell a story.
Every great story seems to begin with a snake.
I wanted to tell, in Hebrew, about my father who sat in jail for long years, with no trial, for his political ideas. I wanted to tell the Israelis a story, the Palestinian story.
All writers are liars. They twist events to suit themselves. They make use of their own tragedies to make a better story... They are terrible people.
Turing was always a legend among computer/geeky kids. He was such an outsider in his own time, and because of that, he was able to see things differently. It was a story that had been well told in books, onstage and on TV, but never on film.
I heard somewhere that whenever you write a book, people will ask you One Question about it over and over. And while I'm no expert in these matters, this is proving to be true. My first book dealt with a not-that-pleasant degenerate type, and the One Question was, 'Is this an autobiographical story?'
I enjoy collaborating with creative people and trying to get the best image possible to convey a feeling or story. Plus, I get flown all over the world to exotic places. How can you lose interest in that? It's a great lifestyle. I can take vacations whenever I want, and no two shoots are ever the same.
The best advice I received came late, and it's this: Don't read the comments section of any story that mentions you!
For me, the reason to make the movie is that if people like the comic, then people would like the movie if it was well made. There are good movies for them, but very few. And I mean that in a true sense. If they love your story for freaking 30 years, then they can do a movie about it.
Places are extremely important when writing a long story because place shapes a character.
For every Tesla or Uber, there's a Valeant Pharmaceuticals or Theranos - two story stocks that seduced an astounding array of prominent investors and supporters based on stories that did turn out to be too good to be true.
Everybody's got a Reggie story.
A lot of times, when you have a story of minorities in America, it's always this super, oppositional thing. It's segregation, it's the racism, and those are the hard facts of the story.
My primary goal is always to tell a story that will resonate with people on a deeply emotional level.
That has been my entire life story, running against the current and running with the current. Sometimes running with the current is underestimated.
American history is the story of Democratic malefactors and Republican heroes.
Just because you read a report in the 'New York Times,' the 'Economist,' or, yes, 'The New Yorker' doesn't make it true. But we do know that a few people have evaluated that story with what strikes me as fairly objective standards of reason.
The short story is very good at looking at shadow psychologies and how the system breaks down underneath.
I didn't 'decide' to write YA, per se. But every time I thought of a story, it featured characters 15, 16, 17.
The way that we're consuming what we watch. Netflix, binge-watching, destination agnostic were not terms. It was about networks, times, dates. Even with feature films, you had to see it this way, in this capacity, at this time. All that has changed. Now it's really about the story. It's a gift that I became a storyteller at this time.
I love the opportunity to use my full range, and so playing in the comedy 'Black-ish' gives me the opportunity to show my lighter side, and playing in this beautiful, elegant horror story of 'Hannibal,' I get to use my darker and more cerebral side. It's really wonderful.
I'm constantly not on the right side of history. I sympathize with the soldiers in the enemy's camp. For example in WWII, we know the Nazis and the Japanese were wrong. But I sympathize with the individual story of a soldier who was drafted into that.
If one wants to talk about the end of the world, the apocalypse, you're talking about the world itself. It's not Southern California breaking into the sea. The story is global, and it requires that kind of approach.
Anyone who thinks my story is anywhere near over is sadly mistaken.
I had the advantage of reading the book, and when the script was first submitted to me, it was just another gangster story - the east side taking over the west side and all that.
I wanted to write a very simple story about a boy, a wolf, a girl, a bear and a forest, so I thought I might set it in the past. I didn't realise that it went back to when I was 10: I used to love the Stone Age when I was a kid and wanted to live in it, and I got rid of my bed and slept on the floor, but I didn't remember it.
I admire writers such as Elmore Leonard who can nail a character in three or four lines of dialogue, so he doesn't need pages of back story or clumsy exposition.
The best way to honor real people when you play them is to try to tell the story of their dynamics and the struggles that they're dealing with rather than lose sight of the connections and personal relationships, and do a really good job at an accent.
Successful people often enjoy telling their story.
When you reach the editing stage, it is often the case that you can get too involved with the story to detect errors. You can see words in your head that aren't actually there on the page, sentences blur together and errors escape you, and you follow plot threads and see only the images in your skull.
When you're drinking from a creek, it's not a good news story. When you don't have food for a baby, it's not a good news story.
I write both fiction and nonfiction. I begin my fiction with the main character. The story comes later.
I think the feeling was that 'Venture Brothers' really has something to sell in terms of a feature. 'Aqua Teen' is an element minute cartoon, and its very subversive and non sequitur and weird. We were writing the one show where we were constantly like, 'God, I wish we had another hour to tell this story.' It seemed like a natural fit.
