A Quote by Ira Glass
There is a kind of structure for a story that was peculiarly compelling for the radio. I thought I had invented it atom-by-atom sitting in an editing booth in Washington on M Street when I was in my 20s. Then I found out that it is one of the oldest forms of telling a story - it was the structure of a sermon.
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The story is told of Lord Kelvin, a famous Scotch physicist of the last century, that after he had given a lecture on atoms and molecules, one of his students came to him with the question, "Professor, what is your idea of the structure of the atom." "What," said Kelvin, "The structure of the atom? Why, don't you know, the very word 'atom' means the thing that can't be cut. How then can it have a structure?" "That," remarked the facetious young man, "shows the disadvantage of knowing Greek."
Energy is the measure of that which passes from one atom to another in the course of their transformations. A unifying power, then, but also, because the atom appears to become enriched or exhausted in the course of the exchange, the expression of structure.
Even the structure of the atom has been found by the mind.
Even the structure of the atom has been found by the mind. Therefore the mind is subtler than the atom. That which is behind the mind, namely the individual soul, is subtler than the mind.
[When asked "Dr. Einstein, why is it that when the mind of man has stretched so far as to discover the structure of the atom we have been unable to devise the political means to keep the atom from destroying us?"] That is simple, my friend. It is because politics is more difficult than physics.
Plot is what happens in your story. Every story needs structure, just as every body needs a skeleton. It is how you 'flesh out and clothe' your structure that makes each story unique.
Structure is important in film, but there's often structure to be found in the most unlikely of places! It's quite possible to build a structured story and retain idiosyncrasy.
Well, I think if you're telling a story, a three act structure will just naturally emerge out of it. But I also love it when a film doesn't feel like it's anchored too rigidly to that structure and you feel like anything could happen.
You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.
I would never be essentialist about sexuality and structure, but I do think there's a way in which this male-arc has been talked about as the only structure, and kind of a stand-in for even the word structure, instead of looking at other forms.
It's writing songs within the structure of telling a story, so it becomes a platform for diverse songwriting, for a writing process that's broader than just figuring out a song. You're also dealing with always pushing the story forward, with casting the voices, with the orchestration, with the arrangements.
One of the principal achievements of physics in the 20th century has been the revelation that the atom is not indivisible or elementary at all but has a complex structure.
The story it told was unremarkable: a tale of love found and lost- the oldest story in the world. The only story.
Out of this idea of separation between atom and atom comes all misery.
People define gay cinema solely by content: if there are gay characters in it, it’s a gay film... Heterosexuality to me is a structure as much as it is a content. It is an imposed structure that goes along with the patriarchal, dominant structure that constrains and defines society. If homosexuality is the opposite or the counter-sexual activity to that, then what kind of a structure would it be?
If you have a structure beforehand, you're sort of stuffing your story into a pre-assembled box. You don't want that to happen. What you want in your writing is to have a sort of wildness that occurs. And then, out of the wildness, a structure emerges.
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