A Quote by Aziz Ansari
I know when someone that's not you tries to tell your story, especially when you don't look like the person whose story you're trying to tell, you're going to screw it up. And the only way to get it right is to have them be as involved as possible.
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If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.
If the right idea comes up, and it feels true to talk about somebody being in a truck, and that's the only way to tell the story, then I will reluctantly tell the story that way.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
You usually get one or the other, you get someone who knows how to tell a story but they don't necessarily know about light and camera and rhythm, or you get someone who can make beautiful images but they can't necessarily tell a great story. He does both and I think he's going to be one of the film-makers that our time is remembered for.
One thing that's really pulled me in to helping artists create their album is that I get to help them tell a story. It's about the way you frame that story and finding the best way to tell that story.
The best time to tell your story is when you have to tell your story. When it's not really a choice. But then, when you get that first, messy, complicated version down, you have to read it over and be very tough on yourself and ask, 'Well what's the story here?' If you're lucky enough to have someone you trust looking over your shoulder, he or she can help you if [you] lack perspective on your own story.
You don't have to be the most amazing writer, you don't have to get top marks in your English GCSE, you just have to be someone who can tell a good story, and tell it right, and tell it well.
A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
You have to figure out who the right person is to tell the story. And often, people who are very self-aware will only sound as if they are pontificating if they tell the story.
The Danger of a Single Story”, which has resonated with me immensely every time I read it. “Power is the ability not just to tell the story of another person, but to make it the definitive story of that person. The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest way to do it is to tell their story, and to start with, “secondly.
Tell your story: yes, tell your story! Give your example. Tell everyone that it's possible, and other people will then have the courage to face their own mountains.
I don't tell a story unless I have a very deep bench. If you tell an idiosyncratic story, there's no resonance. People read it and say, "I don't see anyone like that." So I tell a story only when I have many stories behind it.
I have got my story. Adoptees rarely get our stories. We only know what we are told. I don't even have my story, really. My mother won't tell me. She won't tell me who my father is. She won't tell me the story of my birth.
I don't ask my students to have studied film or any education in general. What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally.
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