A Quote by Jaime Hernandez
It's rare that I actually have a story in my head. I have events or 'what's the next move?' Like, Maggie, 'where's she going to go in this story, where's she going to end up?' Then the story has to fill in the in-between, and that comes as I'm starting it.
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My sister is also retarded. Across the board. She's a one hundred per cent, honest to goodness, born that way retard. I learned a long time ago that if you're going to tell a story about your retarded sister, you need to mention she's retarded right off the bat or inevitably, at the end of the story, someone will say, What... is she, retarded? And then you have to go, Uh... yeah, she is. Followed by a lengthy, awkward silence.
He thought about the story his daughter was living and the role she was playing inside that story. He realized he hadn't provided a better role for his daughter. He hadn't mapped out a story for his family. And so his daughter had chosen another story, a story in which she was wanted, even if she was only being used. In the absence of a family story, she'd chosen a story in which there was risk and adventure, rebellion and independence.
Say you have a headline like "Mountain Bike Stolen," and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections - not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth.
And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.
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.
When you're a co-host, you've got to consider what the other person is saying and take the next step and get the laugh or get to the end of the story. You've got to make it happen and then move on to the next story.
I'll tell you, Liz Cheney is going to be a very good candidate. I worked with her during the Bush campaigns. She's smart, she's focused, she's disciplined - and she's got a great back story. She's got a large family. She's a great mom. And she's a hard worker. I think she's going to be a very effective campaigner.
The thing with film and theater is that you always know the story so you can play certain cues in each scene with the knowledge that you know where the story's going to end and how it's going to go. But on television nobody knows what's going to happen, even the writers.
I came across an old story of mine that I'd written a decade ago. The main joke of the story is that a mother is telling her children about how she met their father online. The majority of memories the mother has all have to do with really funny links he sent her, a music download that she loved, etc. - and because of these superficial details she fell in love with the father. Reading it today, it's hardly a dystopian story; it's simply a realistic story about how people actually meet.
That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.'
People in life take on certain stories and say, 'I'm going to be defined by this story and I'm going to live up to every inch of this story.' Sometimes you realize the story isn't fulfilling you and in fact you're not living the life that you're given.
If you find a story that everybody likes and everybody relates to in some way, then you know you have a good story. But if you're telling a story and all the women are going, 'I'm checked out of this, I just don't really care,' then you're going to have some problems.
Most travel disasters turn into something else: a story of survival, a story of bravery, of heroism, sometimes villainy. You just don't know when it starts where it's going to go because they are unexpected events.
Any time I put together a story collection, I don't know what it's going to look like overall - or even what the title story is going to be. Over time, I end up with a dozen or so stories, and I start to see a shape to them, how they fit together, and then I write stories that complement or extend that shape.
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're a certain type of actor, then eventually stepping into a director's shoes is a natural transition. I've always been the actor who's very focused on the narrative, where my character is in the story, and how I can benefit the story. I've always had a technical aspect of what the lens is, how the camera is going to move, how I can feed the information the director applies within that move. If you're that type of actor, narrative-based, technically proficient, the next step is actually not that far.
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