To me, film is the most complete method of storytelling.
I've been interested in writing and storytelling since I learned to read, but it wasn't until I read Dylan Thomas, when I was 14, that I became interested in language itself, and saw it as more than a transparent medium for a story.
The art of storytelling is in development, not fact sheets. There are posts you have to hammer into the ground from the start just to get going, but if they don't hold up the house you build, you can change them or take them out.
Whatever storytelling muscles you've developed as a documentary filmmaker will be extremely helpful as a narrative filmmaker.
Most young people haven't used their storytelling skills since they were 8 or 9 or 10 and wanted to persuade Mom and Dad to take them to the ball game.
The author always knows more than the reader does at the start of a novel, and gradually, they share that knowledge with the reader - that's storytelling.
Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.
I was always the classroom clown, and the teachers allowed me a certain latitude. The assemblies were good, and the headmaster used to tell little stories; I loved the idea of communal storytelling.
When I work on my own stuff - and I think this is true for anybody - but when you work on something that you just completely own, you are trying to stay as true to your own storytelling voice as you can.
Theater and film are essentially the same - just different kinds of storytelling.
I've always loved reading and always loved the movies. Storytelling is one of the oldest of human endeavors, and they give us our understanding of the world and our place in it. When I discovered that there were people who professionally were involved in the creation of stories, it was game over - I knew what I wanted to do it.
Once you buy into a television show, there doesn't have to be resolution from week to week. You can develop characters and storylines and react to the audience, so you get more of a serialized version of storytelling where you can go much deeper into each character. It's more like a novel.
In the end, you don't want music to be noticed as much as digested and integrated into the storytelling. And make audiences sit forward in their seats and enjoy the movie.
People always ask why I stay in the online space versus going to TV or film, like most people would do, and the answer is that there's opportunity for innovation online - not only innovation in storytelling, but also innovation in how you interact with your audience and that is very fulfilling to me personally.
From the early days of the Raj, Shakespeare had been woven into the fabric of India's education, and my father understood that in a culture rich with storytelling and fantastical tales, Shakespeare's characters and storylines resonated in a powerful way.
Our culture places a very high value on storytelling, and the more that Catholic writers are able to master that craft, the more they can speak to the culture, the more powerful their stories will be.
Music's always been a big part of my life, but it kind of all happened in one big ball of storytelling rather than splitting acting and singing apart.
I don't read many popular histories like the ones I write. The building blocks for my research are scholarly monographs, and the inspiration for my storytelling style are folks like Chekhov.
I think a culture can really be elevated through the arts, and it's always a dream come true when I come across roles that enable me to fuse my love of storytelling with my passion for activism and raising social awareness.
First and foremost, I consider myself a storyteller. And I'm endlessly fascinated with people, with what they do and why... and how they feel about it. Which means I'm interested in romance fiction. I was drawn to it, as both a reader and a writer, at the very beginning of my career. It's my kind of storytelling.
The 'Homecoming King' show started off as a storytelling show that I had done; I worked with Greg Walloch to develop it and build it into something bigger.
What I think of as 'freakonomics' is mostly storytelling around an idea - not a theme but an idea. I like ideas much more than themes. Themes are boring. Themes are, 'Wool is back,' but ideas are, 'Why is wool back?'
Robert Bolt's storytelling is the kind that I grew up with and aspired to.
Storytelling, in print or speech, needs vital energy.
I always want to be telling stories in whatever fashion I can, and directing is really just understanding and learning a different element of that storytelling process.
The key is to work with people who are passionate about storytelling and who have a similar sensibility of the type and nature of the stories that you want to tell.
Storytelling is important. Part of human continuity.
Nobody has ever written as many enjoyable, fun-to-read crime novels as Agatha Christie. It's all about the storytelling and the pleasure of the reader. She doesn't want to be deep or highbrow.
As an editor, I read Charlotte Rogan's amazing debut novel, 'The Lifeboat,' when it was still in manuscript. I read it in one night, and I really wanted my company to publish it, but we lost it to another house. It's such a wonderful combination of beautiful writing and suspenseful storytelling.
My interest in Virtual Reality (VR) films began for me when I began a fellowship with MIT's Open Documentary Lab. It was a profound experience to be on MIT's campus one day a week and to enter a new world of storytelling where breaking convention and traditional methods were expected. This was deeply challenging and inspiring.
Humanity's legacy of stories and storytelling is the most precious we have. All wisdom is in our stories and songs. A story is how we construct our experiences. At the very simplest, it can be: 'He/she was born, lived, died.' Probably that is the template of our stories - a beginning, middle, and end. This structure is in our minds.
I believe in fairy tales. They are the basis of all our performance of storytelling and film-making - when we twist the real events of the world into something that offers us hope - and I believe in that.
We know their names: Hippolyta, Antiope, Thessalia. But they were long thought to be just travelers' tales or products of the Greek storytelling imagination. A lot of scholars still argue that. But archaeology has now proven without a doubt that there really were women fitting the description that the Greeks gave us of Amazons and warrior women.
Storytelling is powerful; film particularly. We can know a lot of things intellectually, but humans really live on storytelling. Primarily with ourselves; we're all stories of our own narrative.
I grew up in a storytelling culture, a tribal culture, but also in an American storytelling culture.
Forecasting is simply not a strength of the species; we are much better with tools and narrative storytelling.
