Quotes About Storytelling

Television is what we call the long form of storytelling, where we tell stories over thirteen, twenty-two, or twenty-four hours. Miniseries is an eight-hour form of storytelling, and film is a two-hour form. Each and every one of them are important to me, because they're a different modality of storytelling.

Good storytelling doesn't have to be in the form of the classics. It doesn't have to be revered by everybody. In fact, to me, the best storytelling is not universally loved by every single person. I think you can water down the ethicacy of the work, itself.

People create the illusion of acting natural, which is what I think most documentarians do in part because of the direct cinema orthodoxies that came into play really in the '60s. That moment of performance is a tremendous opportunity to make visible something hitherto invisible, which is how people want to be seen. How do they see themselves? What are the scripts, fantasies, genres by which they imagine themselves? How is storytelling part of what we are as human beings? We wouldn't kill each other en masse if it weren't for storytelling. We wouldn't be able to live with ourselves.

[Some people think] that storytelling is telling jokes. So they have to be discouraged! Then others think that storytelling-is like an encounter group . . .

Horror is great storytelling with scary elements on top of it, but if you don't have great storytelling, you can have all the scares in the world, but the movie won't work.

That's the type of thing you need to keep in mind when drawing comics. The storytelling. Consider the action and the space available to you, that's what will make it a great comics page. Once you've figured that out, you can always find/make the reference to support your storytelling decisions. So by all means, study film, but as with any reference, the results are better when they inform the craft and not dictate it.

I think we create our world through stories. We use storytelling to escape or protect ourselves from the unimaginable and the horrible - from the real, in a way. It's like white light - if you put everyday reality through a prism you get this rainbow of colors that you couldn't see before. I'm interested in exploring the world to show the things that are invisible. And not just undocumented aspects of reality, but to actually make manifest things that have been hitherto invisible through the intervention of filmmaking.

Some people feel like you need to have a very specialized understanding of music to have the authority to talk about it. They are such good directors that it's perfectly possible to have conceptual and directorial and storytelling conversations about music without needing to know all the technical pieces.

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.

I've been very passionate about storytelling ever since I was a kid. I really don't remember a time when I didn't want to be an actor, and ever since I could remember, I had a really extravagant imagination.

I think that storytelling and creation are very close to what the center of what magic is about. I think not just for me, but for most of the cultures that have had a concept of magic, then the manipulation of language, and words, and thus of stories and fictions, has been very close to the center of it all.

Animation can be a full spectrum of different storytelling techniques and different genres. I think it's sad that there is only one audience that the studios are aiming for and that's the kid audience. It's really tragic that they don't' make films for older people.

What I want to write about has changed somewhat, and the scope of the storytelling has changed accordingly.

For me, the drive is storytelling. To be a part of an art that tells a story and to be a catalyst, a color in that, is very exciting.

I am a person who believes in asking questions, in not conforming for the sake of conforming. I am deeply dissatisfied - about so many things, about injustice, about the way the world works - and in some ways, my dissatisfaction drives my storytelling.

I did have a feeling then that the culture of factuality was so dominating that storytelling had lost all its authority.

When you don't put your initials behind your name, and I've got tons of them, and when you talk about storytelling or love or gratitude, you're diminishing your legitimacy and importance in this world.

I'm really inspired right now by a lot of the actors and actresses who are pursuing storytelling outside of just acting. They're writing, producing, they are creating their own material. That's really exciting to me. It feels like the possibilities are endless as far the things that you can make and even where they can be shown.

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

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 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.

I think acting came later in life when I went to college. I started out there. I wasn't a big star in the school plays or anything. I guess I just really liked stories. I was an English-literature major, and that's all about stories and narratives. Film and theater are very powerful storytelling mediums. You sit in a dark room and enter another world. I love that as a member of the audience, and I sort of wanted to get on the other side.

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.

There is something particularly unique about the films of Hong Sang-soo...it's got to do with his masterful sense of storytelling... as the critic Manny Farber once said of Hitchcock's ROPE Hong Sang-soo's pictures unpeel like an orange.

Too many brands treat social media as a one way, broadcast channel, rather than a two-way dialogue through which emotional storytelling can be transferred.

Short forms are returning online. Interactivity is coming back; it was always there in oral storytelling. Each form has its pluses and its minuses.

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.

In its 400 years of existence, storytellers never evolved the book as a storytelling device.

You have to think about good storytelling and characters first. Then hopefully, the rest of that stuff will follow, some more than others. But if you don't have a good film and strong characters, then you don't have anything down the road.

If a large number of people who are convinced alien abductions are real are hypnotising even larger numbers of others who suspect they might be, then it is likely there will be many alien abduction narratives flying around, as, indeed, there are. Of course, this is not proof they are not true, but it does provide a persuasive context for a simple psychosocial explanation. Hypnotism is a technique that triggers a mass storytelling project in which all the stories are linked.

I fell in love with poetry through storytelling, so my poetry tends to be fairly narrative. I like characters, I like having a beginning, middle, and ending, though not necessarily in that order.

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

It's become almost a cliche at this point that movies in the general sense are the place you go for superheroes and explosions and TV is where you go for actual storytelling.

A Crime So Monstrous is a remarkably brave and unflinching piece of reportage and storytelling. Ben Skinner bears witness, sharing stories so unsettling, so neglected, so chilling they will leave you shaking with anger. This should be required reading for policy makers around the world - and, for that matter, anyone concerned about the human condition.

I think because I am a physical person, and because my way of expressing and performing and storytelling or explaining has always been with my body, if I can combine the two I find it really liberating.

History is a long and endlessly interesting argument, where evidence is everything and storytelling is everything else.

The biggest compliment? I would say, "You helped me." I think in terms of life, not just with acting. But certainly with storytelling, being able to hold up a mirror and allow someone to relate to a story and see something in themselves to the extent that you're in service to another human being - I don't know why else we're here. To know that I helped someone would be the biggest compliment I could ever receive.

Storytelling with music is a really powerful device.

They're [zombies] us, you can also have the wrestler zombie, the clown zombie, the Jay Leno zombie and the nun zombie. I've never seen the clown werewolf or vampire. But because zombies are us, at the lowest possible level, they're a lot more versatile for storytelling.

I used to do more melodic stuff, and I used to do more actual rap - like traditional hip hop vocals. I think my method of storytelling has led me to this point, at which I want to pare down my style. I think I give the lyrics more thought, and then when I try to perform the lyrics over the track I'll try it over and over again, and eventually the lyrics will sink into the track by the way I project them.

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

I grew up on movie sets, getting to see storytelling happen up close.

Storytelling is not what I do for a living - it is how I do all that I do while I am living.

I really admire visual storytelling that shows you what's happening, instead of tells you what's happening. I think it really forces the filmmaking to be very clear.

Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.

If you're writing a book where you want to make a positive truth claim, then you should absolutely call it nonfiction or memoir. If you don't want to make that claim - if that's not what's important to you; if you're more interested in storytelling and interiority and interpersonal relationships than in objective, checkable facts about the world - then why wouldn't you call it a novel, and take advantage of what that gets you, of the extra freedom, of belonging to the tradition of the novel?

My background was producing and writing and performing in television when I started out, and I really missed that, that whole creative process that comes from sort of 'me' storytelling.

Every bit as visceral and hypnotic as its award-winning predecessor, On the Ropes is a tour-de-force of fluid, yet detailed storytelling.