Quotes About Storytelling

To me, the AMC brand is great storytelling - they call it slow-burn storytelling.

Storytelling is one of comics' esthetic hurdles at the moment, which was the novelist's problem 150 years ago: namely, to take comics from storytelling into that of "writing," the major distinction between the two to me being that the former gives one the facts, but the latter tries to recreate the sensation and complexities of life within the fluidity of consciousness and experience. As far as I'm concerned, that's really all I've been trying to do formally for the past decade or more with comics, and it's certainly time-consuming, since it has to be done with drawings, not words.

Storytelling is an act of cruelty. We are cruel to our characters because to be kind is to invite boredom, and boredom in storytelling is synonymous with big doomy death-shaped death. So: be cruel to your protagonist. Rob him of something. Something important. Something he needs. A weapon. An asset. A piece of knowledge. A loved one. A DELICIOUS PIE. Take it away! Force him to operate without it. Conflict reinvigorates stale stories. New conflict, or old conflict that has evolved and grown teeth.

Food was always a conduit in our family for storytelling, and it was a way for us to keep in touch and remember things. We're people that use food to keep each other together and to always cheer us up and make all of our days better.

The storytelling ... is kind of amazing.

Storytelling is my passion, and it rises from a love of reading.

The persona in my stories may be truer to my "real" self than any alleged objective, factual "I" that I could replicate for the purposes of storytelling.

Reading Tomato Red-the first Daniel Woodrell novel I came upon-was a transformative experience. It expanded my sense of the possibilities not only of crime fiction, but of fiction itself-of language, of storytelling. Time and again, his work just dazzles and humbles me. God bless Busted Flush for these glorious reissues. It's a service to readers everywhere, and a great gift.

If I really knew how to do good storytelling, I would be a writer. Mystery is not a huge part of it. ... It's tension, it's relationships. I think it's a struggle.

Writing a story starts out as a puzzle in your mind, of "What is it I'm fantasizing about right now that makes me think this is going to be worth years of work?" And you just keep pushing and trying to figure it out, and once you've hit on these resonances... Then as a screenwriter, it can be dangerous if you get too hooked on just finding things that resonate with each other, because then you risk getting into stuff that's too neat, and becomes stifled as storytelling. But you do feel like you're on the right track when you start to have a sense of what goes with what.

The teacher always used me as an example to the class of good English and good storytelling because we all had to write the same stories. But she used to make me go out front - which I hated - and read my story to the class and I would get huge applause. Not because of who I was but because they truly enjoyed the stories I wrote.

A culture cannot evolve without honest, powerful storytelling. When a society repeatedly experiences glossy, hollowed-out, pseudo-stories, it degenerates. We need true satires and tragedies, dramas and comedies that shine a clean light into the dingy corners of the human psyche and society.

I don't think the world objectively exists the way we think it exists. There's a constant sort of storytelling process.

Storytelling has a narcotic power.

I don't procrastinate because I love the English language and the process of storytelling, and I'm always curious to see what will come to me next. If you procrastinate a lot, you might be one who loves having written, but doesn't so much like writing.

The Internet is allowing us to get back to what's really more natural, which is that storytelling is a shared thing. It's our natural way to be communal.

I'm really trying to focus on the storytelling, more so than ever before I think, partly because it makes for easier pages.

I think I can work with different crews; I've worked with Bulgarian, Norwegian, Japanese, and Chinese crews. For me, the most important thing is the storytelling, and I'm really comfortable working with all kinds of languages.

"The Lucky One" is at its heart a romance novel, elevated however by Nicholas Sparks' persuasive storytelling. Readers don't read his books because they're true, but because they ought to be true.

Yeah loads of bruises and welts, usually around the hip, arse, thigh region and elbows. Elbows got knocked up big time, but it was so much fun. I hadn't done a meaty action film in seven or eight years, so it was fun to explore that aspect of storytelling again.

I've always loved writing, and the impulse for me is storytelling. I don't sit down and think: 'What political message can I sell?' I love the creativity of it.

I do think you learn things about genre storytelling, but you also have to be careful not to learn too much.

I grew up with some kind of storytelling instinct, and when I write, my default setting is to find a story and then to tell it. It's the only way I know how to write.

Part of George R.R. Martins brilliant storytelling is taking the carpet out from under your feet.

Storytelling is at the heart of life... In finding our own story, we assemble all the parts of ourselves. Whatever kind of mess we have made of it, we can somehow see the totality of who we are and recognize how our blunderings are related. We can own what we did and value who we are, not because of the outcome but because of the soul story that propelled us.

Actors, we like stories, we like storytelling, we love being a part of the story, and if you give us a story that's interesting then we'll want to do it.

I'm not a sci-fi lover; I wasn't from the start. So perhaps I miss that passion for other worlds, other dimensions, that sort of scope and that magnitude of storytelling; that's not my thing though I meet plenty of people whose thing it definitely is.

I learned the power of storytelling and the responsibility that people with influence have to speak out

From the beginning of time, we've told stories, Shamans and Medicine People, and not to be pompous about it, but I feel like that is the lineage I take down and where I come from. There is magic to storytelling.

I think good storytelling continues to teach you how it unfolds. And so I don't think that film and stage are mutually exclusive at all. It's just that you're always in a wide shot.

What serialized cable dramas have given us is the opportunity to not simply tell the same story with slightly different words and different costumes, every week. people are really mining the ability of storytellers to tell a long form story that goes from A to Z, and to trust that an audience will follow that. If they miss it, over the course of the week, they can watch it online or buy the DVD. There are so many different ways of interacting with it. Storytelling in television is getting more complex and more nuanced.

I am a big fan of music in terms of storytelling device.

I always loved silent movies. I was not a specialist, but I loved them. And when I started directing, I became really fascinated by the format - how it works, the device of the silent movie. It's not the same form of expression as a talkie. The lack of sounds makes you participate in the storytelling

I'm seeing more and more interesting horror come my way. More and more interesting thrillers and genre films are coming my way from the studio level, and they're financed and they have movie stars attached and all of that. But a lot of times, the storytelling just doesn't speak to me. It feels like it's still oftentimes coming out of a kind of prescribed notion of normalcy, prescribed notion of gender roles. There's not a lot of "new" seeming to be happening.

I've been making 16mm urban landscape films about San Francisco for many years. I choose different nonfiction themes to investigate and am generally interested in surfacing lesser-known histories. I like to investigate and illuminate these histories, combining them with my own unconventional storytelling style, which is generally a stream-of-consciousness voiceover involving a steady stream of personal reflections on pining over unavailable women.

We want to be famous as a writer, as a poet, as a painter, as a politician, as a singer, or what you will. Why? Becauwse we really don't lov what we are doing. If you loved to sing, or to paint, or to write poems - if you really loved it - you would not be concerned with whether you are famous or not. ... Our present education is rotten because it teaches us to love Nothing is allowed to die in a society of storytelling people.

One of the aspects I like about the film is that there is a kind of emotional, psychological discussion during the storytelling, ... Before taking a drug, go through yourself, experience yourself, all your hopes and fears in your own time. Before the pharmacology, do the psychology.

All novels are about crime. You'd be hard pressed to find any novel that does not have an element of crime. I don't see myself as a crime novelist, but there are crimes in my books. That's the nature of storytelling, if you want to reflect the real world.

Star Wars is mythology. Its like Greek mythology or Shakespeare. Its the story of good versus evil over a very long span of time. The storytelling is universal and timeless.

I love my work. What's more fun than playing with imagination? I also believe storytelling is the most powerful way people communicate with one another, interpret our lives, share our dreams, even form our futures. So when I sit down to write every day, I keep the fun, and also what I consider a large cultural project that connects people, at the center of what I'm doing.

One of the most intriguing things in management and in business is the role of storytelling - people need the anecdotes to do the work that they do.

The kind of people that love 'The Rocketeer' are the kind of people that love good storytelling and innocence and a better world, so to speak, so they're almost always nice people to bump into.

My concern 99% is about the storytelling, the emotion and all this. I never think about the format of anything until way far in the process and when we arrive to the fabrication of the thing then we start to say, "Okay right, what is the best thing we can do." I choose the car before to choose the color.

I've always wanted to explore characters of all races, all genders, all ages. It just seems to me to be a natural way to approach any kind of storytelling.

I think color, for a costume designer, is one of your biggest storytelling devices.

For storytelling purposes, there has to be conflict, but that doesn't mean the people have to be mean. I've never liked mean-spirited comedy.

Death of the Father would deprive literature of many of its pleasures. If there is no longer a Father, why tell stories? Doesn't every narrative lead back to Oedipus? Isn't storytelling always a way of searching for one's origin, speaking one's conflicts with the Law, entering into the dialectic of tenderness and hatred?

My brothers were the ones who taught me about mythology and storytelling, and showed me how to do stop-motion animation.