A Quote by Lee Unkrich
When we made 'Toy Story,' journalists were more interested in talking about the technique because it was so new and unknown, and we just wanted to talk about the story.
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The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.
After we finished 'Toy Story 2,' we talked about going right into making 'Toy Story 3,' because we had an idea that we thought had some promise. But there were a bunch of boring contractual problems going on between Disney and Pixar at the time that kept us from making the movie.
Toy Story 1, 2, and 3, to us, are some of the greatest films ever made, and each is better than the one before it. But if you go to Toy Story 6, they all end up decomposing in a trash heap somewhere.
Alison [McGhee] and I have known each other since the summer of 2001. One evening we were sitting around talking about how we wished we had a good story to work on. Alison said: Why don't we work on a story together? I said: A story about what? And Alison said: A story about a short girl and a tall girl.
Well, this is a story about books." About books?" About accursed books, about a man who wrote them, about a character who broke out of the pages of anovel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind." You talk like the jacket blurb of a Victorian novel, Daniel." That's probably because I work in a bookshop and I've seen too many. But this is a true story.
I never talked about homosexuality with my family. After I was 18, they know everything, but I never talk; it was like an information but in silence. I start to talk when I was 32, it was good for me - it was like a liberation. I'm talking about a love story. I'm not talking about sex because love is love.
The more I make films, the more I feel less inclined to talk about them and just let people watch them. I feel that the pictures are telling the story, and I can't really add anything except just talking about the technicalities of what happened on the day.
I really personalized the pressure to make a good 'Toy Story' film. It made me physically sick at the beginning. Literally, I wanted to throw up in the morning because I was just so racked with stress.
When we talk about the Universe Story we are talking about the acquisition of a totally new paradigm, one which overturns many of the patterns that we unconsciously believe to be true. There is not simply the addition of new metaphors and images, but the metaphors and images themselves flow out of a new consciousness inspired by a new awareness of the cosmos.
I wrote The Jesus Storybook Bible because I wanted children to know the Bible isn't mainly about you and what you're supposed to be doing. It's about God and what he has done. It's the story of how God loves his children and comes to rescue them. It's a Love Story. It's an Adventure Story. And at the center of the story is a baby - the child upon whom everything would depend. And every single story in the Bible whispers his name.
The story of slavery is everybody's story. It is the story about how we're all shaped by, regardless of race, regardless of how long we've been in this country. We hope that we can be a factor to both educate America around this subject but maybe more importantly help Americans finally wrestle with this, talk about it, debate it, because only through that conversation can we ever find the reconciliation healing that I think we all want.
One of the things that I was kind of holding on to from 'The Daily Show' was there was an exhaustion that I would feel because we just kind of got caught up in the news cycle. You tell a story, and that's an interesting story, and then the next day we have to drop it and talk about something else. That's so unfair to the story and the people.
The seminal elements of what makes a story great - challenge, struggle, resolution - are the same whether we're talking about story content for a movie such as 'Rain Man,' or telling a purposeful story to forge new business relationships or conclude a fruitful transaction, such as acquiring an NBA franchise.
I have also led you astray by talking of technique as if it were something that could be separated from the rest of the story. Technique can't operate at all, of course, except on believable material.
I made 'Prozac Nation' necessary reading because I write necessarily. I tell my story because it is about everyone else: in 1993, people took pills to relieve the pain just like they do now, but it scared them; it doesn't any more, because talk is not cheap at all - it is tender.
We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.
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