A Quote by Marc Forster
One of the main reasons I wanted to work on 'World War Z' was because I'm a huge fan of the book, and I love the idea of taking a non-linear story and creating a three-act structure out of it.
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One of the main reasons that I love doing what I do is because it's unpredictable and I don't know what's coming next. When you're creating work, it's up to you whether it's an exciting experience or not.
The editor, Stephen Segal, actually called me with the idea of creating an accordion book [ "The Thorn & The Blossom"], and asked if I could write a story for it. I was so intrigued! I immediately knew that it had to be a love story told from the points of view of the two main characters. Right away, I started working on a proposal. And once I had my main characters, Brendan and Evelyn, it was as though they started telling me their stories.
Well, I think if you're telling a story, a three act structure will just naturally emerge out of it. But I also love it when a film doesn't feel like it's anchored too rigidly to that structure and you feel like anything could happen.
Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.
I try to write every day until the book is done, but the exact process depends on the story and its structure. Sometimes, if the story is more linear, I write it from beginning to end.
With my personal work I prefer not to work from storyboards because being a director, producer and animator in one person I don't have to communicate my idea to anyone else, I can keep the feeling of the story, the story arc and structure in my head.
The main reason I did 'Captain America' was because I wanted to get out of my own head and stop taking my work so seriously.
The only kind of film I want to write is a story where I can keep on seeing the stories play out. I'm a huge television fan, and I'm a huge continuing storyline fan.
I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
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 love the three-act theory. It works and works beautifully. But you don't necessarily have to structure a story that way: Cortazar and Borges wrote in different structural styles.
When you write a story, you’re telling yourself the story,” he said. “When you rewrite, your main job is taking out all the things that are not the story.
I've been a huge fan of the 'Jurassic Park' movies. It was one of the reasons why I wanted to be an actor.
The loss of the culture is one of the main reasons Ciro Guerra wanted to tell their story.
I was a huge 'Deadwood' fan because I'm a huge David Milch fan, so I've always wanted to play something like Calamity Jane on 'Deadwood' and just be the biggest Western tomboy girl, ever.
With a book called 'Keeping Score,' I really did want to write a book about the Korean War, because I felt that it is the least understood war in the American cultural imagination. So I set out with the idea that Americans didn't know much about the Korean War and that I was going to try to fix a tiny bit of that.
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