A Quote by David Grann

You want the story to be about something, have some deeper meaning, but there is also an emotional, almost instinctual, element, which is, does this story seize some part of you and compel you to get to the bottom of it?
A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
You want to do movies that you are proud of - telling a story that you want to tell, not a story that you are forced to. Of course, as an actor, there are some things that you do that you try to forget about, but that's part of the job.
I try to tell the best story, and the story that has some heart and some genuine terror and some social commentary and some comedy and some romance and some sex and some violence.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
Because the meaning of a story does not lie on its surface, visible and self-defining, does not mean that meaning does not exist. Indeed, the ambiguity of meaning, its inner private quality, may well be part of the writer's vision.
If one loves stories, then one would naturally love the story of the story. Or the story behind the story, pick your preposition. It does seem to me to be a kind of animal impulse almost, a mammalian curiosity. For a reader to wonder about the autobiography in a fiction may be completely unavoidable and in fact may speak to the success of a particular narrative, though it may also speak to its failure.
So you want another story?" Uhh... no. We would like to know what really happened." Doesn't the telling of something always become a story?" Uhh... perhaps in English. In Japanese a story would have an element of invention in it. We don't want any invention. We want the 'straight facts,' as you say in English." Isn't telling about something--using words, English or Japanese--already something of an invention? Isn't just looking upon this world already something of an invention?
So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.
I think all the characters in 'American Horror Story,' which is why I love it, are looking for some sense of meaning, and also it's their form of happiness.
During the course of a day, some dark feeling comes, maybe some sadness comes, some thrill, some great happiness, some strange humor. Cinema can embrace all that in one story, just as the story of life.
A good story, just like a good sentence, does more than one job at once. That's what literature is: a story that does more than tell a story, a story that manages to reflect in some way the multilayered texture of life itself.
But that is the way of the place: down our many twisting corridors, one encounters story after story, some heroic, some villainous, some true, some false, some funny, some tragic, and all of them combining to form the mystical, undefinable entity we call the school. Not exactly the building, not exactly the faculty or the students or the alumni - more than all those things but also less, a paradox, an order, a mystery, a monster, an utter joy.
On some level, some of the challenges end up being similar, which is when you have a very emotional scene to shoot. As an actor, you have to prepare a certain way, but you also have to prepare a certain way when you're a director because you have to be sure you're telling the whole story.
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
The thing about games is, players often say they don't care about story, but then if you took the story out, what would their reaction be? If no one cared about story, we'd all still be playing Pac-Man. There's nothing wrong with Pac-Man, but the point is, there's a genre of games in which you want to become part of that world.
You have to tell a super story that has some fantastical element, but the human element is what's going to keep people watching.
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