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.

I love storytelling, you know, beyond anything. I love a great story beyond a great performance. Storytelling is about what we all do together and how we collaborate together. A performance can be a collaboration in ways, but oftentimes it's one individual thing.

I achieved perfection, my type of perfection - visual storytelling. Storytelling was my style.

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.

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

Ever since human beings learned to talk to each other, we've been fascinated with storytelling of every kind. Blessed (or cursed) with insatiable curiosity, we have to know what happens next.

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.

Storytelling is the most powerful way to put ideas into the world today.

When I pick up the guitar, it's a melody, and that's what drives the lyrics. It's bits and pieces of truth, but it is storytelling.

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.

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.

I think the most important part of storytelling is tension. It's the constant tension of suspense that in a sense mirrors life, because nobody knows what's going to happen three hours from now.

I grew up with probably three different authors having a seminal influence on my childhood, Dr. Seuss being one and Maurice Sendak being another. That was my parents, who exposed me to their stories. That's how I was introduced to the whole idea of not just reading, but storytelling in general.

The storytelling tradition that you bring from the South, I don't know where it arose, but it's still there. You can't go to the feed store, or the country courthouse without running into storytellers.

I'm too much left brain. I very much have an emotional response to things; I love literature and films and storytelling. I need to nourish my right side, it doesn't get a lot of exercise.

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.

First of all, there is absolutely an order that we have put together to create the maximum number of surprises, but that's just part of our storytelling.

I like being in real environments. I love being in the place that it's about - these sets and locations are characters in the movies. Can you imagine Breakfast at Tiffany's shot somewhere else? It's classic. Characters are part of storytelling; they're just as important as everything else.

Studios and networks who ignore either shift - whether the increasing sophistication of storytelling, or the constantly shifting sands of technological advancement - will be left behind.

Storytelling is more like a skin. You start with the outermost layer, what it's going to look like, then you kind of get deeper into it. What's actually going on beneath the surface is not really dictated by or related to the surface genre. It's more about what's going to happen between the characters and what's taking place in the story.

I've always loved news. I've always loved storytelling and being where the scene is.

The show is not a history lesson or intellectual exploration. It is entertainment based on tension, irony and storytelling that is closely related to today’s life.

It is a great vehicle for storytelling, especially for a certain kind of exhaustively reported, painstakingly fact-checked, and beautifully produced narrative.

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.

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

One of the things that's really fun to tap in with television right now is this sort of explosion, the peak TV moment that we're in, people are exploring different modes of storytelling here. But one of the exciting things here is being able to commit upfront to a big, big, big story.

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.

Storytelling is about listening in any media.

Pulitzer's Gold is a goldmine of inspiration for both journalists and non-journalists. Those in the newspaper business, who now find themselves obsessing about staff cutbacks and circulation declines, should embrace this book as a reminder of the highest ideals, and the absolute thrills, to be found in their profession. As for regular readers, Pulitzer's Gold offers marvelous storytelling, real-life adventures, and absolute proof that journalism can change our world for the better.

Machines have given us a new ability to count and make our understanding quantitative. The Web connects news gatherers with audiences in ways that were never possible before and can bring a breadth of intelligence, and experiences to understanding the news we never had. And professional reporters and editors still have a unique role to play in triangulating those inputs as well as bringing three other distinct skills - access to interrogate people in power, exceptional storytelling skills, and a discipline of open minded, skeptical inquiry - which are not as likely to be found elsewhere.

As long as you still have one bridge left, nothing is lost. But from the moment that you cannot even understand the storytelling or the music of other cultures anymore, then we become strangers to each other and the situation will become very complicated.

I think the reason the stories are briskly paced, when they are, is that I like story. I like stories where things happen and there are surprises and reversals, in addition to vivid characters and a memorable voice. So those are the kinds of stories I try to write. And it turns out that's pretty much the only kind of writing that works for TV. It's a medium that just devours story, demands surprises and reversals. So my sensibility is suited to TV storytelling, at least as we think of it today.

I always say that, if you have great actors and great storytelling and great monsters, and you mix them together, nine times out of 10, it explodes in your face.

I think there's a great storytelling tradition in the restaurant business that tends to attract people with an oral tradition of bulls - ting and bollocking. Creative people, people for whom the 9-to-5 world is not attractive or impossible. It seems that way. There are a lot of stories in the business, and a lot of characters - and it seems to attract its share of artists and writers and people who hope to do something creative in their lives.

The definition of horror is pretty broad. What causes us "horror" is actually a many splendored thing (laughs). It can be hard to make horror accessible, and that's what I think Silence of the Lambs did so brilliantly - it was an accessible horror story, the villain was a monster, and the protagonist was pure of heart and upstanding so it had all of these great iconographic elements of classic storytelling. It was perceived less as a horror movie than an effective thriller, but make no mistake, it was a horror movie and was sort of sneaky that way.

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.

No great television show has ever rested on just one person. They're all about great ensembles and storytelling.

I think great filmmakers will always talk in terms of storytelling. These guys were always about the story. That is how I love to talk about a film.

I think there is much more storytelling in stand-up now. Less emphasis on the joke. Jokes are still important, but it feels like a more intimate and personal experience these days.

I mean, there are some amazing storytelling being done on the small screen right now. That's what so cool about being in television right now. Studios, networks are starting to throw more resources, better writers, more production values... and to be part of that is awesome.

Storytelling is the oldest form of education.

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.

My life is storytelling. I believe in stories, in their incredible power to keep people alive, to keep the living alive, and the dead.

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.

I went to see 'Phantom of the Opera' with my grandma and my mom when I was very little. The stage, the voice, the music?... Composer Andrew Lloyd Webber has been a massive inspiration to me for some time - the storytelling, that deliciously somber undertone in his music.

Back in the day, you'd walk down to a street corner and see some people making a story with a hat in front of them. It's ancient entertainment, ancient storytelling and oral history - now we're doing it on YouTube.

There are epic impulses everywhere you look in There Will Be Blood; what's missing is character development, focused storytelling and, most significantly (apart from that terrific opening sequence), any sense of raw, intuitive drama.

Storytelling is how history is passed. It's what our ancestors did, it's what everybody's done. It has to come back into a story because otherwise, it's stuck in this book and it's boring and it's academic and I'm not against intelligence and I'm not against education, I don't want to be misunderstood, but we have tell the stories to our young people a little bit early and history gives us a lot of things.