A Quote by Costa Ronin
For film and theater, you know how the story starts; you know how the story ends. With TV, you don't. It's literally like living real life in character.
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The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.
I feel like, if I'm being honest with myself, my biggest skill set is as a writer 'cause I can do that quickly and I'm really grounded in story structure. Part of my success as an actor, is that I know story well. Part of my success as a director, is how well I know story. Same thing, as a producer. It all begins and ends with me as a story creator. But, I love doing it all.
The Universe story is the quintessence of reality. We perceive the story. We put it in our language, the birds put it in theirs, and the trees put it in theirs. We can read the story of the Universe in the trees. Everything tells the story of the Universe. The winds tell the story, literally, not just imaginatively. The story has its imprint everywhere, and that is why it is so important to know the story. If you do not know the story, in a sense you do not know yourself; you do not know anything.
The biggest threat to your creativity is the fear that it's already been done, said, created. (So why bother?)
Say it, do it, make it anyway - but tell YOUR story along the way.
The story of how you came to know what you know.
The story of what you want to know more of.
The story of why you do what you do.
The story of how you came to care.
And that's how you create what's never been created before.
Dustfinger inspected his reddened fingers and felt the taut skin. ‘He might tell me how my story ends,’ he murmured. Meggie looked at him in astonishment. ‘You mean you don’t know?’ Dustfinger smiled. Meggie still didn’t particularly like his smile. It seemed to appear only to hide something else. ‘What’s so unusual about that, princess?’ he asked quietly. ‘Do you know how your story ends?’ Meggie had no answer for that.
A film has a beginning, middle, and an end. There is a certain amount of time that you have to embody these people. You know the entire story arch. But on TV, you have to let your guard down. You don't know how long the show is going to last. There is this excitement that comes with developing a character long-term.
Probably a good idea, let me know how it ends" "I already know how it ends" "You read the ending first?" "I always read the ending before I commit to the whole book." "If you know how it ends, why read the book?" "I don't read for the ending. I read for the story".
Every love story or Hindi film has the same story, but what makes it different is the treatment it's given. Much depends on how it is stylised, how the characters are moulded, and how the story is treated.
But I can say what interests me about documentary is the fact that you don't know how the story ends at the onset - that you are investigating, with a camera, and the story emerges as you go along.
I don't know how to be like a Bill Murray or a Will Ferrell, these guys who know how to make a line funny just by, I don't know, some extra-sense perception. I only know character and emotion and real acting; that's all I know how to do.
The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.
Humans know when it's not a good story. Unless you do this for a living, you may not know exactly why you don't like a story, but you can't fool an audience ever. They know when you have it and they know when you don't.
[Eugene Smith] was always writing these diatribes about truth, and how he wanted to tell the truth, the truth, the truth. It was a real rebel position. It was kind of like a teenager's position: why can't things be like they should be? Why can't I do what I want? I latched on to that philosophy. One day I snapped, hey, you know, I know a story that no one's ever told, never seen, and I've lived it. It's my own story and my friends' story.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
In film and theater, you know the story and the journey from beginning to end, but with TV, you can keep peeling away layers and exploring a new world each week.
I'd had the theater background for so long that I know that world inside out; I just didn't know the pace of how a TV set works, like how a show shoots.
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