A Quote by David Harbour
Those Duffer Brothers really know how to tell a story, and I think it makes you want to watch. 'Stranger Things' is remarkably watchable.
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I don't think there's a right or wrong things in your style. It's about how you clearly reflect who you are; how you more clearly tell the story. Who are you? How do you want to transmit that to the world, and how do you more clearly say that? Then I have a philosophy, FFPS: fit, fabric, proportion, and silhouette. Proportion's everything, really, knowing your body and understanding that. Those things have been really crucial for me. It's about being clear about the story you want to tell to the world about who you are - and maybe a little bit of FFPS.
The Duffer Brothers are so attentive to story and detail while being wildly respectful of me and what I bring to the process.
But when I say it isn't meant for anyone's eyes, I don't mean it in the sense of one of those novel manuscripts people keep in a drawer, insisting they don't care if anyone else ever reads it or not.The people I have known who do that, I am convinced, have no faith in themselves as writers and know, deep down, that the novel is flawed, that they don't know how to tell the story, or they don't understand what the story is, or they haven't really got a story to tell. The manuscript in the drawer is the story.
I used to just let people tell me what to do. I didn't really have a mind of my own, and I couldn't really say yes or no to things because I didn't really know what I wanted, but now I feel really confident in the fact that I can really be distinctive on what I want and how I want to do things.
Netflix shook it up, brought this whole new generation of people who said, 'I watch things when I want to watch, how I want to watch, where I want to watch, and that's something that no one's going to ever forget.' This has changed the game completely, and I think it's the tip of the iceberg.
I guess it's easier to get things made when you know the story you want to tell, you know the characters you want to play, and you know the filmmakers you want to tell them with.
I think comics is a really good way to talk about skepticism and atheism and things like that... it was easy to tell those stories and, I think, helpful to some people to tell them in comic form. Using visuals makes it easier to break stuff down and makes it somewhat easier to understand.
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.
The framed tale is, in my opinion, one of the most natural ways to tell a story. If you think of it, the conceit of the frame-less story is actually the odd way of doing things. Without the frame, how do you know the context for a story?
I look for a great story. One that I would like to watch, or tell, or that I think needs to be told, because I know that, as an actress, I have a responsibility to tell certain stories and to tell them properly.
I think people stop themselves from doing the things they want to do. I just think you never know how long you're going to be around so you might as well do the things that are intriguing. Nobody really cares anyway so you have to do what makes you happy.
I just have a different impression of the human race. I think we're really resilient. I think there are a lot of cynical people out there right now, and probably for good reason. But I think that ever cynic is really a damaged romantic, and they really, really, really want things to be good. And if that's the case, I don't need to tell a story that says, "Humanity, look what you've done. Now you can't go out. There's no sun. Look how you've wrecked the world." That's not me. That's not my job.
I think the key for us is really letting the stories we feel are best told to kind of dictate where we go. When we find a story we really believe is one that should be told, how do we best tell it and you know what do we need to tell that story most effectively? I think to the good, the universe is such that there are a lot of options, there a lot of opportunities. So that's kind of what's guiding us.
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.
I'm usually the kind of person where if someone tells me, 'Oh my God, you have to watch this show. It's amazing,' I kind of want to go against it and not watch it. But for 'Stranger Things,' I couldn't resist. I had to watch it.
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
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