A Quote by Juan Pablo Di Pace

For 'A.D.,' when I got the script, I was really moved, because even though it told a story that I knew all my life, it was told in a different way. It was told from a very personal point of view.
My wife told me, "Listen, you have to do something big, beautiful story." I remember that I read The Shack script and I told her that there is a big message over here, and as a Jew, I read the script, and I didn't see anything that connects to religion. It's not about religion, it's about faith, it's about God, and I connected with it, because from my point of view, there is God in this world.
I think there's so many points of view that you want to make sure your stories are being told from men and women... you get all of the different backgrounds. You don't want every story being told from the same point of view. So just for better storytelling, I'm like, 'Yes, please, bring some more ladies on.'
The format of the book was the idea of my wonderful editor, Stephen Segal. Stephen and I had worked together before, on projects for the Interstitial Arts Foundation, and when he got the idea for an accordion-style book, he called and asked if I could write the story for it. I told him that I would love to try! And I knew it had to be a love story, because that's the sort of story you really want to hear from both perspectives. I mean, imagine if Pride and Prejudice were told from Darcy's perspective as well as Elizabeth's. It would be quite a different story!
I don’t have anger towards women. It’s the first script I wrote, I was really young. I got older. It’s told from an angry point-of-view. Young men are crazy strange emotional beings.
If I told you what it takes to reach the highest high you'd laugh and say nothing that simple, but you've been told many times before messiah's point you to the door though no one's got the guts to leave the temple.
I was fascinated by a compelling character embroiled in a controversial topic that told the story from a different point of view.
The fact is that we wouldn't have found out about Manzanar except in our story-telling because it was really never told in the American history books when we attended school. So we were very, very lucky to have that part of history told.
...that was the way human beings are; they love to be told what to do, but they love even more to fight and not do what they are told, and thus they get entangled in hating the one who told them in the first place.
The problem, as I see it, is that you've been told and not told. You've been told, but none of you really understand, and I dare say, some people are quite happy to leave it that way.
With 'If I Stay,' I want you to feel that the whole story is being told from a larger, spiritual point of view. So the beginning is very theatrical.
I wrote 'Ain't It Cool? Hollywood's Redheaded Stepchild Speaks Out,' because in doing hundreds and hundreds of interviews over the past six and a half years, I was tired of the story being half told or a third told or erroneously told.
I feel very strongly that a film isn't just a story, but the WAY that a story is told. It's why I am such a great fan of Hitchcock because it really is all in the filmmaking.
William Shakespeare was the most remarkable storyteller that the world has ever known. Homer told of adventure and men at war, Sophocles and Tolstoy told of tragedies and of people in trouble. Terence and Mark Twain told cosmic stories, Dickens told melodramatic ones, Plutarch told histories and Hans Christian Andersen told fairy tales. But Shakespeare told every kind of story – comedy, tragedy, history, melodrama, adventure, love stories and fairy tales – and each of them so well that they have become immortal. In all the world of storytelling he has become the greatest name.
Why do we protect children from life? It's no wonder that we become afraid to live. We're not told what life really is. We're not told that life is joy and wonder and magic and even rapture, if you can get involved enough. We're not told that life is also pain, misery, despair, unhappiness, and tears. I don't know about you, but I don't want to miss any of it. I want to embrace life, and I want to find out what it's all about. I wouldn't want to go through life without knowing what it is to cry.
The story I have told throughout my work life I could not have told as well without Clarence.
'21 Grams' is only one story told by three different points of view, but they are really physically connected - literally, with the heart.
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