A Quote by Constance Wu
Specificity is what makes good storytelling, and good storytelling is what makes money, and making money is then what encourages new producers to invest in different stories about Asians.
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To walk in money through the night crowd, protected by money, lulled by money, dulled by money, the crowd itself a money, the breath money, no least single object anywhere that is not money. Money, money everywhere and still not enough! And then no money, or a little money, or less money, or more money but money always money. and if you have money, or you don't have money, it is the money that counts, and money makes money, but what makes money make money?
Some after-the-fact storytelling is inevitable, and, in fact, very good and useful. But then we want always to be able to enrich the stories, or maybe change the stories with a fresh infusion of specificity.
Storytelling is storytelling. Good stories need compelling characters and interesting conflicts. That's the bottom line no matter what medium you're writing for.
Good money management alone isn't going to increase your edge at all. If your system isn't any good, you're still going to lose money, no matter how effective your money management rules are. But if you have an approach that makes money, then money management can make the difference between success and failure.
All the collaborators of storytelling, in film and television, have to be partly self-centered because they need to do their work the best they can, and that's what makes them really good at what they do, but then they also have to be a part of the socialist society, for the greater good.
There's this concept in urban music and lifestyle that money is everything, and I'm just not with it. If it makes money, it doesn't make it good. If it's good, it's good.
Well, I suppose I'm interested in ways of storytelling and in stories that are about storytelling.
There's no harmony in most people in a way, and I'm attracted to it, and I think it makes for good storytelling.
It took many years to accept that fantasy is the fuel for my storytelling passion, and without that, I really am a hack, writing for money or approval rather than for the pure delight of storytelling.
Television is what we call the long form of storytelling, where we tell stories over thirteen, twenty-two, or twenty-four hours. Miniseries is an eight-hour form of storytelling, and film is a two-hour form. Each and every one of them are important to me, because they're a different modality of storytelling.
I've heard Braggadocio about excess baggage charges, multiple unused hotel rooms, and rental cars held unused for long periods of time, which makes me lose respect for certain photographers. Sometimes it's worth it to spend money on a good idea, but wasting money makes me ill.
In my work, there is a lot of storytelling. The storytelling is not a new thing. Back in the [Howard] Thurston days, the [Harry] Houdini days, the [Harry] Blackstone days, it was stories, but the stories were, "We're going to the Egyptian temples, and we're going to vanish the Prince of Thebes," and, "On my last trip to the Orient ..."
The storytelling mind is allergic to uncertainty, randomness, and coincidence. It is addicted to meaning. If the storytelling mind cannot find meaningful patterns in the world, it will try to impose them. In short, the storytelling mind is a factory that churns out true stories when it can, but will manufacture lies when it can’t.
Not everything has to be a money-making operation. You do things sometimes because it makes you feel good.
Jewish, black, Filipino, whatever the specificity is, it's specificity that makes a good story. And I think people are tired of seeing the same old shtick on network television. It's just a group of white people hanging out talking about their jobs. Who cares? We've seen that.
A lot of what a composer does has to do with storytelling, and there are different ways of fusing music with picture to express different storytelling ideas.
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