A Quote by Marti Noxon

When you're allowed to tell stories with ambiguity and darkness and things that are still unresolved, that's the dream scenario as opposed to having to fit into a more procedural mode or something a little more conventional. That's not what's working on TV right now.
TV has a longer narrative, and TV's more like short stories. So there's less rules with TV; you can make it a little bit different. [With] movies, the medium has more constraints, so it was just about what stories are the most cinematic and the best resolution.
The problem for me is that I just don't often come across material that speaks to me and my TV education. Before we all had DirectTV and Netflix and Amazon, there's literally 15 years where I saw nothing. Now, I get the pleasure of binge-watching, so now I feel like I'm much more in a TV state of mind, because I binge-watched so many incredible TV shows that now I'm actually a little bit more excited about working in the space.
I will tell you that Hillary [Clinton] will tell you to go to her website and read all about how to defeat ISIS, which she could have defeated by never having it, you know, get going in the first place. Right now, it's getting tougher and tougher to defeat them, because they're in more and more places, more and more states, more and more nations.
I was told stories, we were all told stories as kids in Nigeria. We had to tell stories that would keep one another interested, and you weren't allowed to tell stories that everybody else knew. You had to dream up new ones.
I feel, as I get older and now a father, I try to be a little more conscious of the things I would say and do. I try to be more creative as opposed to using a cheap word, cursing, or something vulgar to get a reaction.
You see, I was told stories, we were all told stories as kids in Nigeria. We had to tell stories that would keep one another interested, and you weren't allowed to tell stories that everybody else knew. You had to dream up new ones.
On the show, you have to be more charismatic, a little smoother, but I think I can still be that prince of darkness. You just have to learn the tricks of the TV trade as well.
Having that little bit of breathing room to work, and not feeling like it's going to fall apart at any second, has allowed me to recover the feeling I had when I was a little kid, when I was writing stories for fun or drawing pictures for my parents to put on their refrigerator. It was about playing and doing something fun, and kind of making your own little world. And that's how art should feel for me, and how having a little bit more distance between my ass and the ground has helped me.
Once I got into pop songwriting, I was kind of just ready to help other people tell their stories... I'm here to facilitate and structure and grow and make things a little more fabulous and a little more urgent.
I think the more web video there is, the more press you'll get, as well as all the people who want to tell stories that haven't been told before but can't do that on TV because different stories are a risk.
I encourage all novelists to move to TV right now, that is the way to go. I was living in New York working at a bank as a day job about seven years ago. I was writing novels at night and decided, "Wow, there's so much great TV, and they're telling the complex, interesting, psychologically nuanced stories that, as a novelist, you dream of telling. And it's a healthy, exciting, thriving medium - that's where I need to be."
We all operate in two contrasting modes, which might be called open and closed. The open mode is more relaxed, more receptive, more exploratory, more democratic, more playful and more humorous. The closed mode is the tighter, more rigid, more hierarchical, more tunnel-visioned. Most people, unfortunately spend most of their time in the closed mode.
There's something inherently more appealing about the idea that you could reveal and tell stories about characters over the course of a TV season - 13 or 26 episodes, whatever it might be - than in the course of one two-hour movie. You can do so many more novelistic kinds of things on a TV show - with time, with gradual development of relationships, and so on - than you could possibly do in a movie. And that is very appealing.
my dream is someday to have a bank of TVs, where all the different channels could be on and I could be monitoring them. I would love that. The more the better. I love the tabloid stuff. The trashier the program is, the more I feel it's TV. ... Because that's TV's mode. That's the Age of Hollywood. The idea of PBS - heavy-duty Masterpiece Theater, Bill Moyers - I hate all that.
It is important as a mentalist to notice small things about people... little things such as being able to tell if someone is right or left handed by looking at which way their belt is pointing. Looking at a book of matches will tell you if they are right or left handed by the side the matches are removed.... It's important to notice these things because the more you do, the more you will realize that each person has little psychological nuances that tell you a lot about the individual. Doing so will tremendously sharpen your skills.
I honestly would tell anyone young to start looking at stories and learning story, because I think that’s the next step after people go, ‘OK, I’ve had enough of that improvisation, I’ve had enough of those short comedy bits. Tell me a story, tell me a more complex story, something that lasts and maybe has a little more meaning to it.’ Don’t ever look at what’s happening now; look at what’s coming next.
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