A Quote by Andrew Lloyd Webber
Sometimes I get the story wrong, or it's the wrong story, and then things don't work.
Related Quotes
I was born with the wrong sign
In the wrong house
With the wrong ascendancy
I took the wrong road
That led to
The wrong tendencies
I was in the wrong place
At the wrong time
For the wrong reason
And the wrong rhyme
On the wrong day
Of the wrong week
Used the wrong method
With the wrong technique
Wrong
Wrong.
The pressures to get the story first, if wrong, are greater sometimes than the pressures to get the story right, if late.
The thing that's helped me from wrestling is sometimes when you do live television, things change immediately, so you can be immersed in one story and then the story shifts. Ultimately, if you just get the point of what you're trying to accomplish, if you know the story, then you can put forth a good product.
'Noah' doesn't merely get the story wrong; like all Biblical adaptations, it's bound to do that (although some aspects of the film are out and out ridiculous). It gets the morality of the story wrong, and in the process turns God into Gaia and morality into radical deep green environmentalism.
Let the novelists fret about consistency - story writers should feel free to jam; to get things right in new, surprising ways by allowing themselves, now and then, to get things wrong.
We're going to open up the libel laws. So when they write falsely, we can sue the media and we can get this story corrected and get damages. I would absolutely work to open up the libel laws. If you write something that's wrong, and at least, knowingly wrong but wrong, a person like me and other people can bring a lawsuits to have it corrected and to get damage.
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
The interaction between the two matters, but to me, each doesn't really exist independently of the other, so I'm not ever faced with a situation where the tone is wrong for the story, or the story wrong for the tone. They are two parts of one thing.
The story is always better than your ability to write it. My belief about this is that if you ever get to the point that you think you've done a story justice, you're in the wrong business.
If we can get that realistic feminine morality working for us, if we can trust ourselves and so let women think and feel that an unwanted child or an oversize family is wrong -- not ethically wrong, not against the rules, but morally wrong, all wrong, wrong like a thalidomide birth, wrong like taking a wrong step that will break your neck -- if we can get feminine and human morality out from under the yoke of a dead ethic, then maybe we'll begin to get somewhere on the road that leads to survival.
The story of the decadence of the cathedral as a moral power, a spiritual energizer in civilization, is the sad but inevitable story of dogmatism. It is the story of the struggle of free thought with bigotry, religion making common cause with the wrong side.
I could speculate, but it would be just speculation and the kind of thing that you would get in with a science fiction story. And if I was doing a science fiction story then I would come up with what can go wrong with this system.
History isn't just the story of bad people doing bad things. It's quite as much a story of people trying to do good things. But somehow, something goes wrong.
If you are pointing out one of the things a story is about, then you are very probably right; if you are pointing out the only thing a story is about you are very probably wrong - even if you're the author.
For the serious biographer, history and the life story of a real individual are inseparably intertwined. Get the facts wrong, or distort them, and the life story gets distorted: becomes fiction.
The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him
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