A Quote by Marco Brambilla

Most of my work has no conventional narrative, so it's not essential to have a beginning and an end - your attention can flow in and out of the experience rather than having a set entry point.
When I set out to write a screenplay, I have in my mind a beginning and an end but that end part continually changes as I start to write the middle. That way by the time the screenplay is finished I have taken myself and my audience from a familiar beginning point through the story to an unfamiliar ending point.
[In mountaineering, if] we look for private experience rather than public history, even getting to the top becomes an optional narrative rather than the main point, and those who only wander in high places become part of the story.
I very much use Bill Willingham's approach on 'Fables,' which is that rather than having an end point to a series, I have an end point for the various story lines.
If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.
The river itself has no beginning or end. In its beginning, it is not yet the river; in the end it is no longer the river. What we call the headwaters is only a selection from among the innumerable sources which flow together to compose it. At what point in its course does the Mississippi become what the Mississippi means?
Even though I know I can work out at any point in my day, I set a time that I want to get this workout in by. I set times when I'm waking up and having breakfast. Finding a few things you can stick to in your daily routine is helpful when there's a lot of uncertainty and your scheduling is really off.
So, rather than becoming multicultural, rather than becoming a person of several languages, rather than becoming confident in your knowledge of the world, you become just the opposite. You end up in college having to apologize for the fact that you no longer speak your native language.
I don't really have any advice, other than to say it's the most appallingly difficult thing I've ever tried to do and I wish I had a better idea of how to do it. In my experience what you end up with is the by-product of your failure to achieve what you set out to do. It may turn out OK, but it wasn't what you meant and you've no idea how you got there.
We cherish the conventional story of Dr. King and nonviolence, in fact, precisely because that narrative demands so little of us…This conventional narrative is soothing, moving, and politically acceptable, and has only the disadvantage of bearing no resemblance to what actually happened.
As so many writers know, the experience of creating an imaginary world is closer to dreaming than it is to normal, grit-your-teeth work. It's preconscious rather than conscious. Ideas fall into your head, and the book writes you, rather than the other way around.
History is a set of skills rather than a narrative.
The strange thing about the apocalypse is that it's uneven. For some people, it goes one way and for others another way, so that there's always this shifting relation to the narrative of the disaster. Sometimes apocalypses are just structural fictions, and sometimes they're real. Sometimes a narrative requires an end - the fact that the beginning was always leading somewhere becomes clear at the end. There's an idea that we're always in the middle, but we posit this apocalyptic end in order to also be able to project into the past or the beginning. I think that's true and false.
It's hard work, writing, you know. Honestly, a fight every day against your own limitations. You have to squeeze books out of your brain, you're constantly trying to solve challenges. I think most writers enjoy the feeling of having written something, rather than the process of writing it.
If you have distance from the events, then your story can work as an analogy or parable, rather than its literal narrative.
If you have distance from the events, then your story can work as an analogy or parable rather than its literal narrative.
The beginning of personal transformation is absurdly easy. We have only to pay attention to the flow of attention itself.
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