A Quote by Jim McKay

I like the way Wiseman builds a story in an unconventional way. — © Jim McKay
I like the way Wiseman builds a story in an unconventional way.
The way I work is I'll basically become kind of fixated on a very stripped-down genre, like revenge or something like that, and just start layering on top of that and entering in thoughts and ideas, and then the story just kind of builds up that way.
Wiseman's films are some of the most pure cinema, and to take a journey in a Wiseman film is like no other. He's been doing it so long, with a body of over 40 films!
I like doing things in a very minimal, unconventional way as a personal way of saying, 'Look, I made a career out of carefully and craftfully, though unconventionally, making records on laptops and blown speakers.'
On to the Next Dream is so outlandish. I call it absurdist fiction, because the story is utter hyperbole. The story builds to such an exaggerated and ridiculous pitch that there's no way it can be true - and yet, because it's based on the current cultural climate, it feels as if it is.
The easy way is efficacious and speedy, the hard way arduous and long. But, as the clock ticks, the easy way becomes harder and the hard way becomes easier. And as the calendar records the years, it becomes increasingly evident that the easy way rests hazardously upon shifting sands, whereas the hard way builds solidly a foundation of confidence that cannot be swept away.
I like to play these unconventional characters, yes. They're close to the way I feel as a human being.
Whenever you’re down on your luck, and when things aren’t going the way you like, remember that you are the author of your own story. You can write it any way you like, with anyone you choose. And it can be a beautiful story or a sad and tragic one. You get to pick.
I think the whole tension about romanticism is the way it builds and builds, and the moment it's consummated, the tension's over.
If Donald Trump builds the wall the way he builds Trump Towers, he'll be using illegal immigrant labor to do it.
I believe in the complexity of the human story, and that there's no way you can tell that story in one way and say, 'this is it.' Always there will be someone who can tell it differently depending on where they are standing ... this is the way I think the world's stories should be told: from many different perspectives.
I've always had to do things my way; I play guitar my way; I've taken myself to the edges of life my way; I've gotten clean my way; And I'm still here. Whether or not I deserve to be is another story.
You have formal rehearsal, a lot of things you don't have in movies - which is, you have to formally rehearse. You have to know your back story, discuss it, and almost everybody onstage has to know each other's [story], so that when it comes time to actually do it, you can throw it all away. That's the way I like to - and I didn't realize until very recently - that's the way I like to prepare for movies.
I know if I told you what God looked like and felt like then I'd be telling you a story. I just think we don't know. God manifests himself, herself or itself in a way that we need it, in a way that we can grab a hold of and a way that we can put our arms around.
One thing that's really pulled me in to helping artists create their album is that I get to help them tell a story. It's about the way you frame that story and finding the best way to tell that story.
I like to compare the holiday season with the way a child listens to a favorite story. The pleasure is in the familiar way the story begins, the anticipation of familiar turns it takes, the familiar moments of suspense, and the familiar climax and ending.
Both my fathers are unconventional. They are like unicorns or wizards. They are musicians through and through. The way they think is just different.
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