Everybody's got stories. I don't want to not have stories.
In terms of the Eastern Europe stories, my family is originally from there; even as a kid, it was the Russian writers I loved most, and I've spent a substantial amount of time there myself, traveling and on research grants.
I love stories of love cropping up unexpectedly in life almost as a problem, as something you don't ask for. Something that messes everything up and makes you rethink everything.
Having done a lot of magazines, I'm very curious how big magazines handle big stories, and I was very curious to see how 'Time' and 'Newsweek' would handle 9/11. And I was basically pretty disappointed to see that they had chosen to show the photo we'd already seen a million times, which was basically the moment of impact.
Hollywood used to be run by artists and people who loved artists... people who wanted to make movies for all the right reasons. For the love. The Art. To tell stories. Yes to make money as well, but it was about both. Now I feel, it's mostly about bottom line and making money.
I have an unconscious burglar living in my mind: If I read something, it's mine. I can read Middle English stories, Geoffrey Chaucer or Sir Thomas Malory, but once I start moving in the direction of contemporary fantasy, my mind begins to take over.
As kids, we spontaneously sing and dance and tell stories, and along the way, someone comes and says, 'No. You shouldn't be doing that.' And we slowly begin to unlearn our passions. I think you have to hold on to those things.
I really unfortunately don't have tons of hilarious Sundance stories, because really I am not the biggest fan of hanging out, but the reason why is because I never go see other people's movies and I think that's the way to do it.
What I've always been most interested in is exposing the way stories and fantasies reconstitute our everyday reality. What appears to be non-fiction is not only totally mysterious, unfathomable, and strange when you really look at what it is.
I was born into a world in which the most compelling stories are through film. But that wasn't always the case. Everything changes; everything evolves.
I don't think I tell stories of tragedy. I think I tell stories of love. Even though you're full of tears, I hope that you leave the theatre with your heart feeling like it's going to explode out of your chest. And yes, you've been through the tragedy, but it's ultimately hope that I think you're left with.
Certainly in my youth there was lots of singing, lots of storytelling, and whenever we went to a party, you had to do a party piece, like sing songs, recite poems, or tell stories. That sort of narrative musical culture was my upbringing.
When I first seriously decided to become a cartoonist would have been '99/2000, right before 9/11. I've been writing and illustrating stories in the world post-9/11 since then, watching the world change around me.
I think 'Pretty Little Liars' is going to be hugely popular for adults, for kids, for girls, for guys, you know, something for everyone to look at, and the stories are going to be great. There's suspense every week. The friendship is really fun to watch. I think it's going to have something for everybody.
Since I was a child, I've liked telling stories. Maybe because my father's a director, I grew up loving stories. I'm not good at spinning them at a dinner table because I do go on a bit, but I love writing them, and directing is just a way of editing the story.
Sirkian films really aren't - at least the way I see them, they're not about identification. They don't have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.
The great thing about having spent all this time on film sets is that I've been able to watch directors and how they work. I now know that this is what I want to do as well: to tell stories visually. But it's definitely my vision that I want to put across, nobody else's.
Films are artifice. We're telling stories on film. At the same time, when it works, there is a real tough immediacy and spontaneity to it, and a punch.
Simple stories... emerge as lovely films or television pieces.
I dream a lot, in colour and in sound and scent. Quite a few of my stories have come from dreams.
I can't write my life story without Emmitt and Troy. They can't write their life stories without me. We're tied together forever. This is a day to remember for the rest of our lives.
Stories about vicars are always being told because they're at the heart of our society. Vicars touch all parts of the community and see life in all its extremity.
They got into fact checking at the 'Paris Review,' and it was mortifying. There was a wrangle about Hemingway's lost stories that nearly killed me. It turns out he didn't lose those stories. They weren't stolen from the platform.
Because I had a lot of emotional upheaval in my life, I'm attracted to stories about characters whose lives are full of wounds and secrets. I'm not interested in who's going to ask me to the prom. I never went to a prom.
The constant is always mythologies and the very first stories that we have. All of the movies that last, that you return to, the movies that struck you as a kid and continue to open up to you 10 years later and 10 years after that - those are the movies I want to make. Those things are eternal.
I just didn't realize the unbelievable impact Disney films had on American society until my assistant coached me on the stories and brought me up to speed.
I can't change the past, and I don't think I would. I don't expect to be understood. I like what I've written, the stories and two novels. If I had to give up what I've written in order to be clear of this disease, I wouldn't do it.
If we get you in the early years of your life and we fill your head with all of the Catholic stories, then it's very hard for you to stop being Catholic. Catholics are Catholics because they like being Catholic.
Family is so central to Afghan life that all Afghan stories are family stories. Family is something I simply can't resist because all the great themes of human life - duty, grief, sacrifice, love, envy - you find all those things within families.
Obituaries were among my favorite to write because they have elements no other news stories have - a story from start to finish with a proper conclusion.
Originally I wanted somewhere to set my short stories about the sort of people I recognise having grown up with. Carnbeg was staring me in the face all the time, only I had somehow failed to see that. Not seeing the wood for the trees, I suppose.
Nonfiction means that our stories are as true and accurate as possible. Readers expect - demand - diligence.
Many novelists take well-defined, precise characters, whose stories are sometimes of mediocre interest, and place them in an important historical context, which remains secondary in spite of everything.
Telling stories with visuals is an ancient art. We've been drawing pictures on cave walls for centuries. It's like what they say about the perfect picture book. The art and the text stand alone, but together, they create something even better. Kids who need to can grab onto those graphic elements and find their way into the story.
We used the Western style to express our own themes and stories. But don't forget that our heritage includes The Thousand and One Nights.
I grew up in Florida, and I have a lot of friends, close friends, who are Cuban-Americans, and I have heard the stories of their families escaping, and some of them didn't even make it to come to the United States for a better life to get away from the Castros.
