A Quote by Jordan Peterson
I don't tell people, 'You're okay the way that you are.' That's not the right story. The right story is, 'You're way less than you could be.'
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I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
If the right idea comes up, and it feels true to talk about somebody being in a truck, and that's the only way to tell the story, then I will reluctantly tell the story that way.
The big nut to crack is to how to tell a story, what’s the right way to tell a particular story.
There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
There’s no right way to tell all stories, only the right way to tell a particular story.
I don't ask my students to have studied film or any education in general. What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally.
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
I know when someone that's not you tries to tell your story, especially when you don't look like the person whose story you're trying to tell, you're going to screw it up. And the only way to get it right is to have them be as involved as possible.
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.
A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
You could perhaps better tell the story of a place by writing of a tiny village as a sort of prism into the bigger issues the culture was facing. It struck me as a better way to learn about a place, or at least a different way, than just going to interview the president. So I have often tried to tell the story of a place through people there. But I'm just amazed.
I'm giving away my family's story. Who owns the family's story? I don't. But you could turn it around and ask, 'Who is to deny me to write my family's story?' I have hurt people, but I don't think in a dangerous way. But you can't tell.
It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell - three trilogies - and I realized, in making my way through the back story and after story, that I was really setting out to make the middle story.
I always try to tell the story the best possible way. I create the mood for each scene in a way that the audience feels that they are right there with me and they feel actually in the mood that was right for the scene.
The inspiration is all in the script, in the text. So whatever it is, either it is a film or a book to be illustrated, anything. Everything you need to know is in the text. So the thing is trying to find right tone and voice, the right style, the right way of expressing the emotions in a story or in the location of the story, but it is all in the text.
The Danger of a Single Story”, which has resonated with me immensely every time I read it. “Power is the ability not just to tell the story of another person, but to make it the definitive story of that person. The Palestinian poet Mourid Barghouti writes that if you want to dispossess a people, the simplest way to do it is to tell their story, and to start with, “secondly.
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