A Quote by Jill Soloway

There are multiple shows of record about a late-transitioning patriarch and how the kids are affected, and there are multiple narratives. That narrative on "Keeping up with the Kardashians," the answer is, they're pretty much fine. It's the same sort of story we were telling which is, you know what? Everybody's okay.
It would be great if we were on multiple planets, but I think that's unrealistic. Hawking says we have to be on multiple planets so an asteroid could come and you'd still have some humans left. It's a nice idea. It satisfies the multiple-eggs-in-multiple-baskets concept.
Joe and I have always been drawn to ensemble storytelling. We like the idea of telling stories from multiple characters' points of view and thinking about the story from multiple characters' points of view.
I have been in dialogue with my family about what can actually be done. We've come up with this philosophy that in a truly multicultural society, the only way to have liberty and justice for everybody is to have multiple parties. And by multiple parties, I mean 50 parties, not one or two.
When I first started you would pitch a story because without a good story, you didn't really have a film. Later, once sequels started to take off, you pitched a character because a good character could support multiple stories. and now, you pitch a world because a world can support multiple characters and multiple stories across multiple media.
'Game of Thrones' has multiple story lines, multiple countries, and it's complete fantasy.
I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.
If you look at most successful startups, they're run by people in their mid to late forties, who've gone through the trenches multiple times and had multiple failures, so they understand.
On an animated television series, you pretty much read the script as written. Whereas on an animated feature, you'll sometimes record the same scene multiple times over the course of a year as the filmmakers continue to tweak that part of the movie.
My mom, she had a challenging job raising three kids on her own and having to work at the same time, you know that shows me a lot. It shows me how hard she worked, how much she cared about us and I want to do the same thing for my kids.
The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.
When investors, particularly investment bankers, talk about splitting up companies, there's a lot of discussion about multiple expansion, and the reality is multiple expansion is an outcome, not a strategy.
I think the part of media that romanticizes criminal behavior, things that a person will say against women, profanity, being gangster, having multiple children with multiple men and women and not wanting to is prevalent. When you look at the majority of shows on television they placate that kind of behavior. If you go through a weekly Monday through Friday, it's all there. It's in how people on the sitcoms and cop shows talk to each other.
With writing, there are multiple drafts. On stage, there is one take. I do a lot of preparation for shows, so, for the most part, what you hear me say is pretty much what I wanted to get at.
As a novelist, your impulse is toward multiplicity: multiple voices, multiple perceptions, multiple nuances, the ambiguity in human communication. Fiction really is the ultimate home for that sense of ambiguity.
There's this great thing called the 'Chitlin' Circuit,' which I started my shows on and back in the day when, you know, Ray Charles and Billie Holiday and Duke Ellington, they couldn't get into white establishments, so they went on this circuit and toured. They were huge stars in their own community, you know, and that's pretty much my same story.
Every year in consulting is like three years in the corporate world because you have multiple clients, multiple issues - you grow so much.
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