A Quote by Charles Halford
Who doesn't want to be loved? That's the whole point. So, when you can get that from someone across the globe, for just telling a story, that's a special thing.
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The characters are telling you the story. I'm not telling you the story, they're going to do it. If I do it right, you will get the whole story.
Well, let’s start with the maxim that the best writing is understated, meaning it’s not full of flourishes and semaphores and tap dancing and vocabulary dumps that get in the way of the story you are telling. Once you accept that, what are you left with? You are left with the story you are telling.
The story you are telling is only as good as the information in it: things you elicit, or things you observe, that make a narrative come alive; things that support your point not just through assertion, but through example; quotes that don’t just convey information, but also personality.
A special effect is a tool, a means of telling a story. A special effect without a story is a pretty boring thing.
I just want a big HBO special or a network or somebody willing to get behind my work and promote it. The most frustrating thing for me is to have this successful act that resonates across the country, and the network guys just don't get it. Everyone sees it except them. I want to leave a mark.
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.
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.
The point of my music? The point I just want to get across is I'm me and I exist. Just letting people know who I am. Ever since I was young, I was the little attention grabber; I always loved attention. I want to grab people's attention. I want them listen to me and know that this is really good music. Whether they like it or not, they're gonna listen.
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 never wanted to be an actor. My dad was an actor, and he never brought joy home, so I didn't view it as something that I would want to do. But I got fired as a secretary, and then I started studying, I started doing it just to earn money. And it took me a long time to learn to love it. And what I loved was telling a story. I tried to avoid making plays or films that weren't telling a story that I felt was important. I discovered in the process that it makes you more empathic because you have to enter someone else's reality and learn to see through many other people's eyes.
The whole point of the punk-rock thing was that "We're not special. We just have a voice."
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.
Admittedly, the masturbation story is just a "Hey, this is one of my best-of's, I'll throw it in the special." But the grandmother stuff, really, I feel like is part of the theme and part of the best way to end the story that I'm telling with the special.
All children mythologise their birth. It is a universal trait. You want to know someone? Heart, mind and soul? Ask him to tell you about when he was born. What you get won’t be the truth: it will be a story. And nothing is more telling than a story.
There's no dignity in hiding from an undignified story. You don't want to die the death of 1000 cuts. Just get the whole thing out... the entire thing, every detail, answer the questions and move on.
When I write I pretend I'm telling a story to someone in the room and I don't want them to get up until I'm finished.
It's like this," he'd explained once to Connie. "If someone gave you a single rose, you'd be happy, right?" "Okay," he went on, "Now imagine someone gives you ten thousand roses." "That is a whole lotta roses," she said. "That's too much." "Right. Too much. But more than that, it makes each individual rose much less special, right? It makes it hard to pick one out and say, 'That's the good one.' And it makes you want to just get rid of them all because none of them seem special now." Connie had narrowed her eyes. "Are you saying when you're at school you just want to get rid of everyone?
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