I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.
I want to photograph what I see and put it in a dramatic context. I'm an actor and a writer, and I want to tell these stories and present these shapes, colors and movements as I see them, as I see them serve a narrative. As I see that narrative serve an audience. That's what I want to do.
I don't think people want to look at problems. They want a continuous narrative, an optimistic narrative. A narrative that says there's a present and a future - and what was in the past no longer exists.
I want to see children curled up with books, finding an awareness of themselves as they discover other people's thoughts. I want them to make the connection that books are people's stories, that writing is talking on paper, and I want them to write their own stories. I'd like my books to provide that connection for them.
I want the vetting to be solid. But I also want to bring these people in because not bringing them in sends a message, right, to the Muslim world and plays into the ISIS narrative and the Al Qaeda narrative, right, that this is a war between religions. And we can't have that.
If an artist is going through a lot of bad publicity, I don't want to ask them about that. If they want to talk about it, I'll make them comfortable enough where they can bring that up on their own. Not only do I want them to feel comfortable, I want them to come back.
I don't think that the people in my stories are lying to themselves. Well, some of them are - everybody is at some level. But there is something about how they all inhabit a narrative of their own making.
If there's a group like Amish people, that want to live their own lifestyle – they don't want to live in our city – they want to live out in the country, with their own projects. We’ll put up the buildings for them, design the buildings for them, design the food production systems for them – if they want us to. But we don’t control them.
Performance shots are a waste of time, they look like everyone else's. If you want to shoot a performer, then grab them, own them, you have to own people, then twist them into what you want to say about them.
I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.
I'm trying to make sure that the visual connections between the disparate elements are strong enough for the viewer to keep moving through the work. It's in paying attention to those hundreds of details that the flow of the line will guide an audience through the narrative in a way that will make them enter it enough to engage with it, and perhaps construct their own narrative.
I write in reverse: Rather than come up with a narrative and write jokes for that narrative, I write jokes independently of the narrative, then I try to fit them in.
Hollywood wants to own everything. I don't want to own anything. I don't want people just to make content, I want to empower and teach them to create content they own that they can exploit in any medium.
We want to empower our people; we want to strengthen them; we want to provide them with the kind of qualifications that will enable them to build up their own country themselves.
Many of our holidays revolve around traumas that happened to our people and how we must remember them in specific ways. The way these stories are told and what we take away from them can change, and do in certain contexts, but overall I am not sure whether Jews want to let go of the narrative of the victim.
I don't just want my books to be about the '30s and '40s. I want them to read as if they had been written then. I think of them as '40s novels, written in the conservative narrative past.
We are all at the center of our own narrative, but it's a narrative that changes every time we retell it.