A Quote by Dolph Ziggler
You don't just go to your bosses and say, 'This sucks. I'm supposed to be winning everything.' If you have an awesome idea or a story, or something great, you go, 'Hey, how about we do this,' but when the story is not you, you have to find a way to make it work.
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That's the great thing about a series: you're driving to work, and you have an idea for a story for your characters, and you can go into work, and it's gonna be a television show. I mean that's what's great about the job.
The story, I like to say and remember, is always smarter than you—there will be patterns of theme, image, and idea that are much savvier and more complex than what you could come up with on your own. Find them with your marking pens as they emerge in your drafts. Become a student of your work in progress. Look for what your material is telling you about your material. Every aspect of a story has its own story.
The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.
The story is everything, so it always begins with a story. Research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.
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.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to 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.
I get up in front of a bunch of kids and say 'Hey, I'm gonna tell you a new story. Who wants to be in a new story?' Well some kid always sticks up their hand and that gives me a name, but it doesn't give me a story. I just say whatever comes to my mind and usually it's not that good. Every once in a while, however, I say something that turns into a really good story.
Give it your best shot. Go for it. If it's what you really want to do, go for it. Even if you don't make it, you will never look back and have regrets. You can always say, "Hey, I went for it. I tried my hardest. It was an awesome experience."
I think you can't go into any story-breaking process thinking, 'What if they come off as unlikeable?' You just gotta break the story because if you know who your character is, the story will tell you. The story will dictate and say, "This feels off-kilter for this particular person."
Once you're into a story everything seems to apply-what you overhear on a city bus is exactly what your character would say on the page you're writing. Wherever you go, you meet part of your story.
I wrote The Jesus Storybook Bible because I wanted children to know the Bible isn't mainly about you and what you're supposed to be doing. It's about God and what he has done. It's the story of how God loves his children and comes to rescue them. It's a Love Story. It's an Adventure Story. And at the center of the story is a baby - the child upon whom everything would depend. And every single story in the Bible whispers his name.
It's all still about having a good story. You have to have a good story as your anchor, as your main focus. So for me, personally, I just like to concentrate on writing the best book I can, and if there's other stuff that goes along with it, that's awesome, as long as the story is central.
This is a good thing to say to film students. If there's a story point that you don't feel right about, that there's a question you have - "Does it really make sense?" Or, "Is that plausible? Is it implausible? Is it set up?" Or whatever. Go at it. Don't let it go. If there's a question in your mind, you're probably right. You probably do need to work on it and think about it more.
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 prefer to surprise myself as I'm writing. I'm not interested in it if I already know where it's going. So I have only the most general sense of what I'm doing when I start a story. I sometimes have a destination in mind, but how the story is going to go from Point A to Point Z is something I make up as I go along.
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