A Quote by Debra Granik
I think, in some ways, that is the balm of stories, of fables, of tales: it's the way we're wired. We have always needed to distill what we're going through and try to understand it by looking either backwards or forwards. And the hardest is to look in the now.
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I'm fascinated with the stories that we tell. Real histories become fantasies and fairy tales, morality tales and fables. There's something interesting and funny and perverse about the way fairytale sometimes passes for history, for truth.
I'm just always looking forwards. I spend very little time, looking backwards.
They [Fairy Tales] are talking about real emotions, telling true stories, through the medium of metaphor. People used to understand metaphor better than I think we do now. But these stories are so potent, they refuse to die.
I've always thought you have to live life looking forwards, not backwards. I've had no interest at all in who my ancestors are.
People are wired for lots of things. We're wired for novelty. We're wired for humor. We're wired for new pieces of information that surprise us in some way or add value to our lives. We're wired for fear.
It's very hard to get out of this hold, that's why you either have to scoot backwards, move forwards, or try to get up.
Fashion means never to look too much backwards. It always needs to go forwards.
The market for short stories is hard to break into, but a magazine editor isn't always looking for big names with which to sell his magazine - they're more willing to try stories by newcomers, if those tales are good.
In a way, I feel that we're always connected, maybe you and me, we've been connected - not only now, but before. That's why we've crossed paths. And this manifests beautifully for me in fables, old television, novels in Thailand, but now we try to ignore these themes and stories. That's why now when we make "ghost" films, they have a certain stock quality to their effects, a certain formula, and I miss how it used to be.
When we teach in pluralistic ways, there are two wonderful dividends. First of all, we reach more students, because some learn best through stories, some through works of art, some through role play etc. Second of all, we show what it is like really to understand something.
Well, you know, going into any project, especially with a fan base as vocal and passionate as something as "Star Wars," you will have groups of people who will find issues with whatever it is you're doing. But our job was to tell the best story we could about characters that we loved, and we knew that we needed to go backwards to go forwards, and we needed to go back to a feeling and a place and a time.
For me, I think it's such an important thing to hear other people's stories, because you do find ways that either you can learn something from them, or you can identify with something that they've gone through. You realize that maybe what you're going through in life isn't just specific to you, that somebody else understands it, or you talk to someone and all of sudden you see something in a completely different way because of what they've said to you or shared with you.
People say, "Look, your book [Tales and Wisdom from Duck Dynasty's Favorite Uncle] is about tall tales." And I said, "No, you don't understand, OK? The book is tall tales, OK, by me. But look, those tall tales are my life, OK? And look, I added some spices in there. That's the five percent. You know the one about the wolves chasing me? The only thing about that - they wasn't wolves, they was coyotes".
I wanted the chance to look again at very famous stories and see what made them work well, whether there were any ways in which they could be improved. Because the great thing about fairy tales and folk tales is that there is no authentic text.
Every player is wired differently. Some players you know exactly where they're headed, where they're going and what they're thinking. There are other guys wired differently. It allowed me to understand the personality of Alexander Ovechkin.
Though now we think of fairy tales as stories intended for very young children, this is a relatively modern idea. In the oral tradition, magical stories were enjoyed by listeners young and old alike, while literary fairy tales (including most of the tales that are best known today) were published primarily for adult readers until the 19th century.
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