Quotes About Storytelling

You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.

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.

Even though L.A Confidential box-office was a fraction of, say, Titanic or the Grinch movie, it finds its audience and will continue doing so for who knows how long, because of the basic thing we love about movies, which is storytelling and performances.

Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.

There's not really genres as storytelling in Austria, unfortunately.

I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.

It would seem that the more irresponsible and crafty one is, the more likely one is to have a talent for storytelling.

It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.

There is no society that does not highly value fictional storytelling. Ever.

Especially when it comes to something like the awards, I find it kind of baffling that 'True Blood' has been snubbed so many times given the incredible range of acting they have on there; I mean, incredible storytelling and the incredible production values.

I so love the animation process. Interesting, everything that I do in animation, the kind of crafting and skills of storytelling, totally work within the structure of the Disney nature films. In a weird way, I like to think that animation is like painting, and Disney nature is like sculpting. Animation you start with a blank canvas and you paint. With Disney nature, you start with a big block of imagery and you hone it down into your final story. Somewhere you end up with something kind of pretty to watch.

It is a skill we learn early, the art of inventing stories to explain away the fearful scared strangeness of the world. Storytelling and make-believe, like war and agriculture, are among the arts of self-defense, and all of them are ways of enclosing otherness and claiming ownership.

If you're doing a big spectacle film, you've got to be mindful of large masses. Even then, you've got to be responsible only to your storytelling.

I fell in love with commerce and the opportunities that come with compelling visual storytelling.

I've always loved the blues, ever since I was a kid. It has a depth to it that a lot of contemporary music doesn't have. It has pain and suffering in it, but funny stories, too. And it is built on storytelling, which is something I really love.

I think video games are going to completely take over storytelling in our society. Video games are not a fad.

I love storytelling. I love stories, and I love the way in which we connect through stories.

Lawrence Hill, a cultural and spiritual descendant of West African griots, has used his vast storytelling talents to create an epic story that spans three continents. The Book of Negroes recites the pain, misery and liberation of one African woman, Aminata Diallo, who was stolen from her homeland and sold into American slavery. Through Aminata, Hill narrates the terrifying story of slavery and puts at the centre a female experience of the African Diaspora. I wept upon reading this story. The Book of Negroes is courageous, breathtaking, simply brilliant.

I like directing much better. It's more fun, that's all there is to it. It's essentially the same job, which is storytelling, but you have more control over the way you want to tell the story. It's a high. I love it.

The album ['A Seat at the Table'] really feels like storytelling for us all and our family and our lineage.

The goal of storytelling should be to make stories as ubiquitous as music.

Songwriters I've always been drawn to are people who deal with something of depth in the lyric writing. ...I've always been influenced by the folk song, the storytelling tradition in folk music. And so for years I wrote mostly story songs. I still do that, but as I've gone on, it's gotten a little more personal. I used to write mostly in the third person. I write a little more in the first person now.

From earliest times, humans - explorers and thinkers - have wanted to figure out the shape of their world. Forever, the way we've done that is through storytelling. It is difficult to let the truth get in the way of a good story.

My major allegiance has been to storytelling, not to history.

Most actors are drawn towards historical tellings because it's one of the most simple forms of storytelling.

One of the things about being on Twitter, for me, is mostly about just being on the pulse of what people are interested in, what people are doing and what people are looking for. I look at entertainment projects and storytelling and I really try to think about what people want.

I don't need to write comics for a living. I have movies and TV for that. I write comics for one reason and one reason only: I love comics. I love the form, the structure, the storytelling process, I love everything about it.

It's all storytelling, you know. That's what journalism is all about.

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.

Even if I made pornography, the trauma would show, though. It will always be there because it's my verité. It's my kind of narrative, it's my kind of storytelling. It's not style; it's just there.

I like to believe that storytelling transcends age limitations.

I don't know when I made that active decision to be a writer or to try to write, but I know I always liked storytelling.

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.

I think photography is a universal language as far as storytelling goes, and I think that's what it's most successful at.

The storytelling in 'Doctor Who' is quite universal.

To aspiring writers, I say : Don't give up. Storytelling has been an integral part of the human condition since the beginning of time. Don't let anyone tell you your dreams don't have value. They do.

If there is one thing I think I have accomplished, it's that I always thought of myself as a very literal songwriter, and as I look at some of those older records, I don't hear it now the way I did when I was 20. I think it is undeniable that the songs have become more instantaneously descriptive and literal. I'd like the songs to be more storytelling, but also have the turns of phrase within them that would hopefully distance my writing from the pack. I feel like on those older records there are a lot of attempts at clever turns of phrase.

With iron and blood, it seems, and from the rich depths of the earth, John Griswold has fashioned a classic American novel, its dignified intonations of our young nation's sweat and tears evocative of the indelible storytelling of Dos Passos, Frank Norris, and Upton Sinclair.

If I weren't a theatre designer, I wouldn't be any other kind of designer. Design is interesting to me as it relates to narrative: the design has to support the narrative. Storytelling is the most important thing.

We can distance ourselves from the reality of what we did through storytelling.

Storytelling reveals meaning without committing the error of defining it.

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?

I get some flak for and some resistance from colleagues for because I'm interested in storytelling. I mean what I like about songwriting is songs used to tell a story.

You imagine a reader and try to keep the reader interested. That's storytelling. You also hope to reward the reader with a sense of a completed design, that somebody is in charge, and that while life is pointless, the book isn't pointless. The author knows where he is going. That's form.

I love crosscut parallel storytelling, like we did in Blue Valentine. I love how Alejandro González Iñárritu has done it, and Quentin Tarantino, and Francis Ford Coppola, and all the way back to D.W. Griffith - this parallel editing is an effective way to tell stories. It's like juggling, like keeping a lot of balls in the air and seeing how they come down.

That's the thing about prep, is that it's a joy to have it there and you can spend all this time prepping, but ultimately you have to look at your script and turn up on the day. It's embedded in there somewhere but you have to forget it all and play the scene because we are storytelling.

Rule of storytelling: When a character is shoved against a wall, shove them against a wall harder.