A Quote by Brett Leonard

My focus is to push the medium to be what it truly can be. Something well beyond 360-video, which is where a lot of the initial money has gone…but, of course, it’s not real VR if you don’t have agency. So what I’ve been looking for for 25 years is that undiscovered country between gameplay and linear narrative and the emotional engagement of a cinematic narrative. And that takes a huge combination of interesting technological enablements, as well as an understanding of how to bring a multidisciplinary team on a process that is upside-down the traditional process.
I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.
I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.
With my students, I don't offer any simple tips like that, maybe because my own process is pretty messy, but when we workshop we talk a lot about the deeper subject, which is what the story or novel is about. I think defining a narrative's themes can lay bare a narrative's tensions.
Visual storytelling combines the narrative text of a story with creative elements to augment and enhance the traditional storytelling process. By design, it is a co-creative process resulting in an intimate, interpretive, expressive technique.
LeBron and I have always been about finding companies that we truly believe in and putting real money into them. We're not talking putting in $15,000 or $20,000. It's real money plus the expertise, understanding and knowledge that we bring, as well as bringing LeBron's name and likeness to the product.
The body of work I create combines traditional storylines and postmodern narrative strategies to approach themes such as belonging, identity politics and conflict, as well as the push towards - and resistance against - modernization.
I really focus on process as much as anything else: process for how we evaluate players, process for how we make decisions, process even for how we hire people internally, process for how we go about integrating our scouting reports with guys watching tape in the office.
The creative process is different from the traditional production and work-flow process. It is not so linear.
Narrative is linear, but action has breadth and depth as well as height and is solid.
I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.
Well, it's not all the same, but there are a lot of parallels. I'm not sure how to answer [on psychology background], but I think when I was studying psychology I had a professor and a friend who would talk about "process" all the time. Your process, his process, the group's process. There's some carryover from that discussion to my creative work.
Usually, companies, when they approach other people to do VR, they're like, 'We're gonna offer a virtual reality experience' - to me, that usually means they're gonna put a bunch of 360° cameras in a room, film something, and wrap the video in a sphere so you can head-track and look around. To me, that's not virtual reality. That's 360° video.
We don't have a traditional strategy process, planning process like you'd find in traditional technical companies. It allows Google to innovate very, very quickly, which I think is a real strength of the company.
I have a theory that, for people of color or others who have been cut out of the master narrative, just telling your personal survival tale, your story, is civic engagement. It is a kind of political performance and is really crucial in that storytelling is how the writers connect with people and change. It's how we collect and add to and complicate the master narrative.
It's kind of interesting to experience that kind of a ride after well, essentially so many years of enjoying a career based on failures and then suddenly something clicks. The weird thing is, I never changed a thing. The process is still the process as it ever was. The fact that people decided to go and see a movie that I was in was probably the most shocking thing that I've ever been through.
What I'm really proud of Beyonce and Solange, they understand the importance of creating the narrative. It's all about the narrative and how you position yourself with your narrative.
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