A Quote by Frederic Tcheng

As a filmmaker, you look for a story, and the story has to have conflict and a match of opposites. — © Frederic Tcheng
As a filmmaker, you look for a story, and the story has to have conflict and a match of opposites.
You won't have a story unless you have conflict, which means if there's no conflict in a situation, people look for a way to make some.
You can't tell a good story without conflict - the story can't be beautiful or meaningful. We're taught to run from conflict, and it's robbing us of some really good stories.
Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.
If you have a beautiful story, it has to have conflict. If you don't have conflict, it can't be a good story.
I look for what responsibility the character has in telling the story. If you remove the role from the story, can you still tell the story properly? And if the answer is no, then I'm interested.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
Foreign novels are less action-oriented. They have a different pace; they’re more reflective. They challenge us to look for the story, find the story within the 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.
It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
Real power is having the ability and the resources to tell an amazing story or to say 'yes' to a filmmaker and change not only the filmmaker's life but the world.
You find a story - or more importantly, you find some characters - that you want to be around as a filmmaker. The style and how we're going to shoot it and how we're going to design it and how it's all going to feel and look depends on that story. They tell me how I should shoot it.
'The Story Of A Marriage' was initially a short story I wrote, and before that, it was a family story. It was a story that a relative of mine told me about herself in the '50s, and it was a story that no one else in my family believes, and it might not be true.
The Universe story is the quintessence of reality. We perceive the story. We put it in our language, the birds put it in theirs, and the trees put it in theirs. We can read the story of the Universe in the trees. Everything tells the story of the Universe. The winds tell the story, literally, not just imaginatively. The story has its imprint everywhere, and that is why it is so important to know the story. If you do not know the story, in a sense you do not know yourself; you do not know anything.
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.
BoJack' is a very much a format-based show. The story should always match the format, but I don't necessarily think the story has to come first.
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