A Quote by Edith Wharton
I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.
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I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college.Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
People need to understand that what happens in people's homes and behind closed doors, unless you were there, you really shouldn't make any analogy or any assumption, which writers do quite a bit. It's not something I ever for one second thought about. This is not my life story, and I've never told my life story, and I have no interest in telling my life story.
The architecture of a story can be a little bit different if it's a true story.
Essentially, the scripts are not that different. Let's say, in literary terms, it's the difference between writing horizontally and writing vertically. In live television, you wrote much more vertically. You had to probe people because you didn't have money or sets or any of the physical dimensions that film will allow you. So you generally probed people a little bit more. Film writing is much more horizontal. You can insert anything you want: meadows, battlefields, the Taj Mahal, a cast of thousands. But essentially, writing a story is writing a story.
It thought about the magic that happens when you tell a story right, and everybody who hears it not only loves the story, but they love you a little bit, too, for telling it so well. Like I love Ms. Washington, in spite of myself, the first time I heard her. When you hear somebody read a story well, you can't help but think there's some good inside them, even if you don't know them.
One of the things I want to do with 'Desi Rascals' is go a bit deeper into the characters and their family lives and have a bit more heart and a bit more inter-generational story-telling, so it's not all about young people.
Each time I told my story, I lost a bit, the smallest drop of pain.
Each time I told my story, I lost a bit, the smallest drop of pain. It was that day that I knew I wanted to tell the story of my family. Because horror on Earth is real and it is every day. It is like a flower or like the sun; it cannot be contained.
I think that when I'm telling a story, I'm doing the best I can to tell the story as fully as I can, and if there are various fractures that happen in the story, then that's just the very thing that the story is as opposed to my looking for avenues of difference in one story. They just really do exist. For me, anyway.
The economic sense of possibility was so great when I was growing up that my parents had no question that I could do anything I wanted to do, even as a girl. I've always believed that the economics of a story intersects with the women's story - that stuff often happens at the time it happens because of the economy.
I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.
The worst part was that I had things I wanted to tell my mother, too many to count, but none of them would go down so easy. She'd been through too much, between my siters-I could not add to the weight. So instead, I did my best to balance it out, bit by bit, word by word, story by story, even if none of them were true.
I love being a clutch member of the team, but I hope, in the future, I get a little bit more story on my shoulders and a little bit more responsibility to keep the world of a story up in the air. I really, really welcome that challenge.
I've often made revisions at that stage that turned out to be mistakes because I wasn't really in the rhythm of the story anymore. I see a little bit of writing that doesn't seem to be doing as much work as it should be doing, and right at the end, I will sort of rev it up. But when I finally read the story again, it seems a bit obtrusive.
I understand some of the people's impatience with the show last year. I think that Lisa's (Lili Taylor) story line (marrying Nate with minimal motivation in season three) became a little bit of a diversion - and that happens. It happens in every show.
Though it may not seem like it, I never try to write about a place, per se; it's always, first and last, about story. Story is everything. Story and a bit of attitude.
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