A Quote by Laurie Simmons
I'm not interested in telling a story in my photographic work. I'm more interested in freezing certain moments in time.
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I'm interested in reality, and I'm interested in survival. I'm interested in people who aren't the lucky ones, who maybe have a tougher time surviving, and telling their story.
I'm not first and foremost interested in story and the what-happens, but I'm interested in who's telling it and how they're telling it and the effects of whatever happened on the characters and the people.
I'm not interested in breaking news. I'm interested in telling the story of what's going on and then trying to figure it out.
Whenever I’m interested in something, I know the timing’s off, because I’m always interested in the right thing at the wrong time. I should just be getting interested after I’m not interested any more.
I'm always interested in projects. Whatever I do, I'm interested in the color of the material. I'm not interested in who's making it. I'm more concentrated on the work.
Human beings are interested in two things. They are interested in the reality and interested in telling about it.
I feel like there are moments where musicians may be more interested - or culture in general - to show roots and where one comes from. And later there comes a time where that has lesser importance for artists, and instead they become more interested in affiliating themselves with global or international trends. Fortunately, we were in the right place at the right time, and that allowed us to experiment, play and enjoy.
People aren’t interested in the truth, Dafar. They’re interested in what keeps them safe. They’re interested in being looked after. They’re interested in a tale being spun... Mighty men have moments of great despair that common people do not want to know about.
I'm interested in the moments where the audience is restless. I'm interested in the moments where they lean in and become incredibly engaged: the laughter, the silence. All of that is part of how I think about shaping and rewriting the play.
Lewis Carroll, you see, wasn't really interested in telling an exciting story. Well, he wasn't interested in things like cause and effect or a linear narrative. It's surreal, it's absurd, it's wordplay, it's satirical, it's analyzing itself, it's funny, it's an enormous challenge.
I asked a lot of friends and people I'd meet, "Can you tell me a story of a micro-aggression that happened to you in a place you didn't expect it to happen?" I wasn't interested in scandal, or outrageous moments. I was interested in the surprise of the intimate, or the surprise of the ordinary.
It always did bother me that the American public were more interested in me than in my work. And after all there is no sense in it because if it were not for my work they would not be interested in me so why should they not be more interested in my work than in me. That is one of the things one has to worry about in America.
The Time that Remains is a way of interpreting a certain ambience or emotion. These are the stories that my father told me over the course of fifteen or twenty years. I used to listen to him. From the cowardly part of my character, I'm always in fear of not telling the right story. I'm not interested in making epics.
The mass media in the days of newspapers and television it's hard to be able to find a story that's about just what you're interested in at the time you're interested in it.
I'm interested in telling stories that add up to more than the entertainment of the story. That's what does it for me.
I look for what responsibility the character has in telling the story. If you remove the role from the story, can you still tell the story properly? And if the answer is no, then I'm interested.
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