A Quote by Cecelia Ahern
Journalism classes teach us that one must extract oneself from the story in order to report without bias, but often we need to be in the story in order to understand, to connect, to help the audience identify or else it has no heart; it could be a robot telling the story, for all anyone cares.
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We're telling a story. And the demands of that are different from the demands of a documentary. The audience must believe in order to keep faith in the story.
Creators, makers of the new, can never become obsolete, for in the arts there is no correct answer. The story of discoverers could be told in simple chronological order, since the latest science replaces what went before. But the arts are another story- a story of infinite addition. We must find order in the random flexings of the imagination.
I think that people have to have a story. When you tell a story, most people are not good storytellers because they think it's about them. You have to make your story, whatever story it is you're telling, their story. So you have to get good at telling a story so they can identify themselves in your story.
I find the mediums to be incredibly different. In theatre you're telling the same story eight times a week, and in TV that story is constantly changing and you're often telling it out of order based on shooting schedules.
Both education and religion need to ground themselves within the story of the universe as we now understand this story through empirical knowledge. Within this functional cosmology, we can overcome our alienation and begin the renewal of life on a sustainable basis. This story is a numinous revelatory story that could evoke the vision and the energy required to bring not only ourselves but the entire planet into a new order of magnificence.
The difference between writing a story and simply relating past events is that a story, in order to be acceptable, must have shape and meaning. It is the old idea that art is the bringing of order out of chaos.
If it's a story I'm telling, then I have control over the ending... But if it's a story, even in my head, I must be telling it to someone. You don't tell a story only to yourself. There's always someone else. Even when there is no one.
I'm just trying to make the point that the story we're telling ourselves is often very different from the story we're telling the people around us.
When I was a kid, I was always going to bed creating a story and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.
When I was a kid, I was always going to bed creating a story, and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.
The idea that a story has to be 'exceptional' in order to be worth telling is curious to me. What if we looked at every single person's story as a site of possibly infinite meaning? What if we came to believe that there isn't hubris or narcissism in thinking your story might be worth sharing - only a sense of curiosity and offering?
The director of 500 Days of Summer is doing the Spider-Man movie. That's not necessarily the movies I want to make, but it's all about the story, and if you connect to the story, and you feel you can tell that story better than anyone else, then great. Jon Favreau killed Iron Man, I loved it.
There's definitely a delicate line you have to walk in telling someone else's story that's not quite as delicate in telling your own story. I think when I'm working on a personal story, there's less pressure to try to get it exactly right.
But when I say it isn't meant for anyone's eyes, I don't mean it in the sense of one of those novel manuscripts people keep in a drawer, insisting they don't care if anyone else ever reads it or not.The people I have known who do that, I am convinced, have no faith in themselves as writers and know, deep down, that the novel is flawed, that they don't know how to tell the story, or they don't understand what the story is, or they haven't really got a story to tell. The manuscript in the drawer is the story.
Scripture is, at its heart, the great story that we sing in order not just to learn it with our heads but to become part of it through and through, the story that in turn becomes part of us.
I think that when I'm telling a story, I'm doing the best I can to tell the story as fully as I can, and if there are various fractures that happen in the story, then that's just the very thing that the story is as opposed to my looking for avenues of difference in one story. They just really do exist. For me, anyway.
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