A Quote by Anthony Russo
Joe and I have always been drawn to ensemble storytelling. We like the idea of telling stories from multiple characters' points of view and thinking about the story from multiple characters' points of view.
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I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.
The editor, Stephen Segal, actually called me with the idea of creating an accordion book [ "The Thorn & The Blossom"], and asked if I could write a story for it. I was so intrigued! I immediately knew that it had to be a love story told from the points of view of the two main characters. Right away, I started working on a proposal. And once I had my main characters, Brendan and Evelyn, it was as though they started telling me their stories.
We should quit using phrases like 'turning points' and 'tipping points.' There's been multiple turning points, multiple tipping points.
Great novels have great characterization no matter what. But multiple points of view let me examine characters from entirely different perspectives, allowing me to learn more about everyone in the process.
Television has embraced so much in terms of storytelling and in terms of a wide array of characters conveying stories from different points of view.
I love telling stories; I always have, and I think women need to be more proactive about telling their own stories and sharing their points of view.
I love telling stories; I always have, and I think women need to be more proactive about telling their own stories and sharing their points of view. So that's definitely a goal for me.
When I first started you would pitch a story because without a good story, you didn't really have a film. Later, once sequels started to take off, you pitched a character because a good character could support multiple stories. and now, you pitch a world because a world can support multiple characters and multiple stories across multiple media.
By the time I got to school, I had already read a couple hundred books. I knew in the first grade that they were lying to me because I had already been exposed to other points of view. School is basically about one point of view -- the one the teacher has or the textbooks have. They don't like the idea of having different points of view, so it was a battle. Of course I would pipe up with my five-year-old voice.
I'm a huge believer in learning anything from multiple points of view.
I find myself speaking through the other characters, putting ideas in their voices and heads. Writing almost becomes a splitting of myself into multiple personalities. But I don't write to make an argument on behalf of any of the characters, or to prove anything about a character. I think that's important that I be serving the story first and not my own point of view.
I feel that we should try and understand how we as women storytellers have often fallen into the mode of telling stories in the ways in which traditionally men would. I often find that my points of view are expressed by male characters.
Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
I think there's so many points of view that you want to make sure your stories are being told from men and women... you get all of the different backgrounds. You don't want every story being told from the same point of view. So just for better storytelling, I'm like, 'Yes, please, bring some more ladies on.'
School is basically about one point of view - the one the teacher has or the textbooks have. They don't like the idea of having different points of view.
One of the most beautiful things about 'Game of Thrones' is it's told from so many different points of view, and these characters can convince you that what they're doing is right. But they're only showing you a bit of the picture, and when you see it from another character's point of view you may switch allegiances.
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