Zitat des Tages über Geschichte / Story:
We start out talking about the story, trying to figure out who is who and what should happen, taking notes the whole time. Then I do a rough layout of the issue, showing what happens on each page. Then we discuss that some more.
My own writing has perhaps more of an American flavor than a British one, but that's because the stories I've so far written have needed it. 'Empire State,' 'Seven Wonders' and 'The Age Atomic' are all very place-centric, where the setting itself is almost a character. But there is a universality to story that isn't just limited to science fiction.
I do have to earn a living, so I'm conscious of probable reactions from readers, but the most important one is still the awareness that if I'm not enjoying a story, the reader won't either.
The FSG story starts to lose its fairy-tale aura when filthy lucre invades the sacred enclosure, as it did ubiquitously in the every-man-for-himself Reagan era.
The story of civilization is, in a sense, the story of engineering - that long and arduous struggle to make the forces of nature work for man's good.
You know Americans are obsessed with life and death and rebirth, that's the American Cycle. You know, awakening, tragic, horrible death and then Phoenix rising from the ashes. That's the American story, again and again.
So usually even if you like a sentence or a story or something, it won't come out that way - it'll come out years later, and in a different way, and you don't really control that.
There's no dancing girls. We're kinda like secondary to the thing. It's a story about these two guys that are in love with this one girl and how it unfolds and what happens.
'The Five People You Meet in Heaven' by Mitch Albom - I read it in eight hours and blubbed my eyes out when it finished. I've thought about the story every day since.
My relationship with fashion has always been that each of us stars in our own movies and costumes ourselves to play the part we want. You take blouses and jeans and dresses, and you put them together, and they tell your story.
As an actor, you're lucky if you get a month before a project starts. There are times when you get a day before a project starts. So to be able to really sit and inhabit that mind and the story is really beneficial, and it really helps for me to be able to then compartmentalize as we're shooting and detach and go somewhere else.
As a person who wants to see and believe in the story, I don't think women at age 50 are able to sing young girls.
The writer interweaves a story with his own doubts, questions, and values. That is art.
Personally, I see little distinction between an artistic mentality and criminality. You couldn't possibly create a compelling story without some wickedness or some fascination with the disgusting. Being good is a hindrance to a writer.
I disliked singing in English and neither liked the story nor the character of Cressida.
No one wants to read a story where I saw a cute puppy on the street and I petted it. I mean, that's not funny. I only write about the funny stuff.
Tim Story is a fantastic director, and I'm so excited to get to work with him.
I think that Poe is so resonant because he represents that part of us that is in misery or sorrowful or wants to explore the darkness. He wrote a great story called 'The Imp of the Perverse' about the instinct towards self-destruction. Poe is the godfather of Goth literature and that whole movement.
But I'm not adverse to the idea of Torch Song as a musical. It would just be different. Because the play will always be there exactly as it was, and in a musical you could tell a lot of the story through songs.
I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
There is a certain comfort in waking up and finding that Michael Jackson is still the Big Story. At least it tells you that nothing horrible has happened in the world that would force them to move on to real news.
Writers would submit scripts to me, and if I liked one well enough to submit to magazine editors, I had the know-how whether the story was good or bad.
I'm a minor player in my own life story.
We're going to break a story that there are people on the staff on the 9-11 Commission that didn't want the 9-11 Commissioners to know the details of Able Danger because of the potential to embarrass those commissioners.
If I can get a story about a player, I would give you a ship load of numbers, batting averages and all just for that one precious story. That's the kind of thing that I love to do.
You can be intuitive when you've got a more expansive role. You can get into the poetry of telling the story rather than just pushing buttons.
'Roots' did show that the audience would be receptive to black talent and a black story.
In college, I discovered the Joyce Carol Oates short story 'Where Are You Going, Where Have You Been?' which is definitely one of the most incredibly unnerving, frightening short stories ever written.
Ultimately, 'Cinderella' is the story of the underdog. You root for her in this fairytale; the girl who has nothing, deserves so much more, and gets it.
I do have a stunt double because there are certain things that they won't let me do. Like they won't set fire to me. They won't like let me jump off a 20 story building. There are certain big stunts that it's just impossible to get insurance to let me do, but for the most part I'd say I do probably 75% of my stuff.
A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.
Don't set pen to paper until you know your main characters inside out. Create files detailing their appearances, likes, dislikes, and personal background. You may not use all the information, but it is a crucial step in planning your story.
The soles of the best writers, a professor once told me, are worn down to holes. This is an incomplete measure, but the image of a writer grinding his or her shoes against curbs and cobblestones stuck with me. The story is always out there, the details around the corner or down the alley.
In 'Blood Work,' they made choices I wouldn't have made, but I'm not a filmmaker. I took the money, and they told the story.
I think that 'Heroes' really is about family. I mean, sure, it's this surreal story, and it's about people with powers, but the story behind that story is a story of family.
It's always the story that interests me.