A Quote by Cory Barlog
I had a very specific idea of the personal nature of the story I wanted to tell, really changing the image and the perception of Kratos.
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My career always involved being the person in charge of what I was portraying to people. "I never wanted to be an image of something I didn't believe in, an image that somebody else had put together. The idea of that just really scared me, more than the idea of failing.
The ideas always have to be in service of the story. And that's what Scott and the writers did - they weren't trying to beat you over the head with an idea; they had a story they wanted to tell, and they had ideas, so they used the story as a way of fleshing out the ideas. It all depends on where they want to go with it.
I've wanted to direct for a long time, but it had to be a story I wanted to tell. The writer's job is to find the story that he should tell.
The chance to tell personal, language-specific, culturally specific stories is really flourishing on TV and I think it's just the nature of movies and international demands that you need to get a much bigger audience. TV is more like independent film was. The forms of adult drama and certain kinds of sophisticated comedy, there's no room for them in the tentpole movie universe.
The still image continues to have a ton of strength. An image taken out of context from one fraction of a second to the next can tell a story, and if photographers are looking to tell a certain story, they can curate those slices of time to their advantage.
Memoirists, unlike fiction writers, do not really want to 'tell a story.' They want to tell it all - the all of personal experience, of consciousness itself. That includes a story, but also the whole expanding universe of sensation and thought ... Memoirists wish to tell their mind. Not their story.
Joe Wright called me and I also had some trepidation along those lines but he said no, it would work. He had a very clear and specific idea of what he wanted to do.
With 'Brooklyn,' I knew the story I wanted to tell, and I just had a very strong sense that if I turned the volume up a little bit, it could be something really special.
The image of a bedsheet ghost standing all alone in an empty house was something I was obsessed with. I really wanted to make a film about that image, and I was waiting for the right story to come along. When it did, I did my best to honor that image.
I had just wanted to be part of a story; I wanted to be a person who had a story to tell.
I always think first about the nature of the story. When I had the idea for 'The Namesake,' I felt that it had to be a novel - it couldn't work as a story.
I had no idea whether I could play 'em or not, but I wanted to and I was very determined... but the band director said #That's not really normal.' Of course, all you have to tell me is that something's not normal and I'll go for it!!
I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
I knew what I wanted to do when I set out. I knew that I wanted to write a book that told the story, obviously. I wanted it be comedy first, because I felt like there already had been childhood druggy stories that were very serious, and I felt that the unique thing here was that I was a comic and I could tell the story with some levity, and I have been laughing at these stories my whole life.
I went to America with a very specific idea of what I wanted to do.
It was difficult, and yet I was very eager to do it. It was a really odd thing. I really wanted to do that story. I really wanted to write the death of Captain Kirk. I really wanted to do it in the movie.
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