A Quote by Andy Muschietti
You have to go to what the essence of what Pennywise is about - the dark power of adulthood. It's not coincidence all the grown-ups in town are evil. This is not a story about a monster. It's a story about the end of childhood.
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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.
I saw my parents as model grown-ups, and their manner, their silence, informed my sense of what adulthood looked and felt like. Grown-ups behaved rationally and calmly. Grown-ups worked during the day and came home at night and sat down for drinks and passed the evening quietly.
My childhood wasn't very happy. It's a long, grim story about being a Jew in a small southern town.
You can go back and try to generalize, but then you end up saying things that all editors say about everything that ever gets published. Something about voice, about urgency, about actually having a story to tell.
What I love about the Bible is that it's a group of stories but it's all telling one main story. It's about Jesus Christ. The story is not about me. That takes a lot of the pressure off me, but it also puts the responsibility on me to point people to who the true story is about.
Mine is a story about a teenage single mother who struggled to keep her young family afloat. It's a story about a young woman who was given a precious opportunity to work her way up in the world. It's a story about resiliency, and sacrifice, and perseverance. And you're damn right it's a true story.
The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.
Every story is a story about death. But perhaps, if we are lucky, our story about death is also a story about love.
Well, this is a story about books." About books?" About accursed books, about a man who wrote them, about a character who broke out of the pages of anovel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind." You talk like the jacket blurb of a Victorian novel, Daniel." That's probably because I work in a bookshop and I've seen too many. But this is a true story.
I never told a victim story about my imprisonment. Instead, I told a transformation story - about how prison changed my outlook, about how I saw that communication, truth, and trust are at the heart of power.
The goal is always about the next story. It's always about the thing I haven't done before. It's about learning, or it's about becoming better, and it's about whatever story grabs hold of me.
I think that 'Heroes' really is about family. I mean, sure, it's this surreal story, and it's about people with powers, but the story behind that story is a story of family.
I found myself sitting at the computer, and I thought I was going to write a kind of simple nostalgic story about two boys and their love of kite fighting. But stories have a will of their own, and this one turned out to be this dark tale about betrayal, loss, regret. The short story which was about 25 pages long sat around for a couple of years.
'Farscape' is a story about family. It's a story about creating life in a harsh environment. That's what a lot of people relate to in the story.
When I made 'Monster,' I didn't think about it being about a woman. I didn't think about that she was a lesbian. I was telling a story about a specific person who was tragic and looking for love in the world, and the more I could make her you, the more of a victory.
It's very dangerous for a storyteller to walk into a situation with a political agenda because you end up telling a story about issues instead of telling a story about people.
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