A Quote by Danny Fox

If you can see a world within a portrait I would be happy with that. I don't want to tell the story with a painting, though. I'm trying to get away from the story- from the beginning and the ending.
Tell me a story, Pew. What kind of story, child? A story with a happy ending. There’s no such thing in all the world. As a happy ending? As an ending.
Please tell me a story about a girl who gets away." I would, even if I had to adapt one, even if I had to make one up just for her. "Gets away from what, though?" "From her fairy godmother. From the happy ending that isn't really happy at all. Please have her get out and run off of the page altogether, to somewhere secret where words like 'happy' and 'good' will never find her." "You don't want her to be happy and good?" "I'm not sure what's really meant by happy and good. I would like her to be free. Now. Please begin.
You realize time isn't just a period that you tell a story within - it becomes a major character in the film. There is no beginning, middle, end because there is always stuff beginning and ending simultaneously.
It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.
So often with beginning writers, the story that they want to start with is the most important story of their life - my molestation, my this, my horrible drug addiction - they want to tell that most important story, and they don't have the skills to tell it yet, so it ends up becoming a comedy. A powerful story told poorly becomes funny, it just makes people laugh behind their hands.
I never try to give a message in my books. It's about living with characters long enough to hear their voices and let them tell me the story. Sometimes I would love to have a happy ending, and it doesn't happen because the character or the story leads me in another direction.
If it's commercial fiction that you want to write, it's story, story, story. You've got to get a story where if you tell it to somebody in a paragraph, they'll go, "Tell me more." And then when you start to write it, they continue to want to read more. And if you don't, it won't work.
There are filmmakers like me in different parts of the world that have a story they want to tell, and it's a story that comes out of a certain historical reality within their own life. Then you get committed all the way and however long it takes, stay very committed.
When I get to tell a story through music videos or TV, it's all about finding the story that I want to tell, so I'm definitely open to acting roles, it just depends on the story.
Vera said: 'Why do you feel you have to turn everything into a story?' So I told her why: Because if I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me. Because if I tell the story, it doesn't hurt as much. Because if I tell the story, I can get on with it.
The story was such that I couldn't make a graceful ending and then make a graceful new beginning. I could have, but I didn't want to. So, it isn't the most graceful way of writing a story. This new story is, I think, is pretty good stuff. I'm pleased with it anyway.
Trying to find the story within the story was hard. Filmmaking is such a reductive process in a strange way and you keep whittling away to what is essential.
Sometimes I'm considered, I guess, a subtle actor. Maybe I'm less of a showman and more just trying to tell the story. I don't know what the perception is. I just want to tell the story so the story as a whole works as opposed to just making sure that I work.
I was working within a figurative representational framework, and there was a sense of reading the painting as a transparency, or truth, or autobiography, which I think is partially the burden of artists of color - or women, or anybody who is representing a so-called minority position. Are you actually telling a true story, or your own story? You don't just get to tell a story. The readings of the work didn't necessarily conform to my own understanding of mythology, where violence and eroticism and the body and all of these different forms coexist all the time.
Death is either an incredible ending to a story or, more often than not if you ask the right questions, it's the beginning of a story.
I don't tell a story unless I have a very deep bench. If you tell an idiosyncratic story, there's no resonance. People read it and say, "I don't see anyone like that." So I tell a story only when I have many stories behind it.
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