So much European cinema has open arms to stories carried by women in their 40s, 50s, and 60s. And America is a little behind in that.
Some stories are true that never happened.
I can't help seeing 'Waste Land' as the third in a triptych with my earlier films 'Devil's Playground' and 'Blindsight,' and not least in the awe and gratitude I feel for the group of people who were courageous enough to share their stories with us - and to live lives so rich in inspiration for us all.
Short stories are fiction's R & D department, and failed or less-than-conclusive experiments are not just to be expected but to be hoped for.
I'd get into a room and disappear into the woodwork. Now the rooms are so crowded with reporters getting behind-the-scenes stories that nobody can get behind-the-scenes stories.
I'm always a little apprehensive about 'decoding' fictional stories.
I know I was writing stories when I was five. I don't know what I did before that. Just loafed I suppose.
My stories are about humans and how they react, or fail to react, or react stupidly. I'm pointing the finger at us, not at the zombies. I try to respect and sympathize with the zombies as much as possible.
You know the stories of a woman saying to Churchill, 'Sir, you're drunk,' and he said to her, 'And you're ugly, but in the morning I'll be sober.' I was really excited to do that scene, but I did get slapped.
A lot of the stories I've read about myself, I don't even recognize who they're writing about.
When you're traveling constantly, every day you become inspired, and it shows in my work, sonically, lyrically, visually. Conversations with women with different accents and stories told in those accents. I like to create characters based on different people I've met, and relationships. I like to tell stories loosely based on real-life events.
I've been given that gift of working with Jack Nicholson and James Coburn and certain people who just out of nowhere break into stories - talking about working with Alfred Hitchcock or Kubrick. That's my real reward of my career.
I'm a small and normal girl, and stories like mine no one likes to tell. Fortunately so, because I wouldn't like to play myself.
The biggest stories in 2005 were the national disasters.
Like prospecting in the 19th century, reconnaissance of the asteroids would of necessity take place in an arena where trouble is likely and help is distant. Heroic stories of individual triumph and failure, set on landscapes never seen by humankind, are in the cards.
If you want to be a director, work with writers and find different ways of telling stories with film, then do a course. This way you can consolidate what you've learnt and use the course to go further.
First and foremost, telling historical stories is very tricky because it is something that is known. It is not like you can tell a lie or change something that is written in black and white.
So many of the fantasy stories I encountered growing up were set in worlds that were largely modelled on medieval Europe in one way or another. Lots of white folks in feudal societies, castles and kings, that kind of thing.
I see people as haunted by the selves they don't know... I don't have children, but I have nieces and nephews, and one thing I notice is how fascinated they are by stories of their lives before they can remember.
I like 'Vampire Diaries' because it has great stories.
I have very strong Canadian connections. My daughter was born there a year and half ago. But because of the nature of my job, I need to be in countries where I can get the stories that I am looking at.
I could come up with 50 stories that I am thinking about.
I've received a lot of positive feedback from both the secular and Christian markets. People seem to be receiving it with open arms and hearts, and are interested in the stories I want to share about my relationship with God and my faith.
I have no stories to sell. A lot of my relationships are with civilians, and no one wants to hear about those.
I have stories that I'd like to maybe one day consider directing, but you need a lot of time to write and put it together.
I am greedy for both Hollywood and Bollywood. For me, Bollywood is not new, as it is something that I grow up on... I know the plot... stories and characters that are written and made. I haven't got the right opportunity to show my work in Bollywood.
People downloading my stories from the bit torrent sites were never going to buy them anyway. It's no money out of my pocket.
Africa's success stories are delivering the whole range of the public goods and services that citizens have a right to expect and are forging a path that we hope more will follow.
I want to go back home and make movies in Australia. There's so many stories that we haven't captured yet. In Australia, we cling on to whatever culture we have. We're such a multicultural country.
There are so many canceled games that people don't know about and so many stories people can't tell because they're restricted by this ridiculous culture of secrecy.
I'm a storyteller. I'm not like any other comic. I tell detailed stories - not made-up stuff, but true stories.
Why do we capital-N Nerds love Mars so much? Because it's beautiful, it's tough, it's buried in our mythic, childhood memories. It's covered with human triumphs but also with sad stories of failure.
I find it very interesting: when 90 percent of the critics that review films are men, how is that helpful when trying to create stories from a feminine point of view?
The enjoyment we get from something is powerfully influenced by what we think that thing really is. This is true for intellectual pleasures, such as the appreciation of paintings and stories, and it is true as well for pleasures that seem simpler and more animalistic, such as the satisfaction of hunger and lust.
Our stories are different; our pain is the same.
Do goofy stories make people nice? What if, in their goofiness, these stories somehow inspire that in the right way. Is that a social good?
