A Quote by Mike Flanagan

Gerald's Game,' we could not have made it at a studio without substantive changes to the story. — © Mike Flanagan
Gerald's Game,' we could not have made it at a studio without substantive changes to the story.
Gerald's Game' had such an impact on me when I read the book in college that I think I've actually, consciously or unconsciously, been incorporating elements of that story into my work ever since.
I was very involved in political satire, and I'd been writing parody for 'Mad' and 'National Lampoon,' so I made up some strange story about Gerald Ford.
You have to get an individual who's willing to actually struggle with the system to change it. As long as you have people who - to make substantive changes, to make infrastructure changes.
The game is No. 1. You are an adjunct to the game. In a studio, there is no game. You are the star. That's why you are there. For the game, you can't go away from the game and beat your chest. People are there to watch the game. You are there to supplement, not to override or overwhelm.
This is my second bass that Paul built me. There were some changes that were made. Sometimes I think of changes that could be made having to do with both the sound and the feel. It's definitely a beautiful instrument.
What Peter Jackson proved with 'Lord Of The Rings' movies is that you could make various changes, and you could pull things around, but as long as it was in the spirit of the storytelling, and because he made The Shire so real, the fans forgave him for the changes.
Cultures are made of continuities and changes, and the identity of a society can survive through these changes. Societies without change aren't authentic; they're just dead
I can be an artist a posteriori, not a priori. If my pictures tell the story, our story, human story, then in a hundred years, then they can be considered an art reference, but now they are not made as art. I'm a journalist. My life's on the road, my studio is the planet.
We could see the children's toys here and there, and we saw a game that the children had made themselves out of dirt, deer antlers and abalone shells, but the game was so strange that only children could tell what it was. Perhaps it wasn't a game at all, only the grave of a game.
I took a lot of influences from Studio Ghibli, which is the Japanese animation studio that made 'Spirited Away' and 'Castle in the Sky.' They're like the Japanese version of Disney - but without all the schmaltz.
Stories are there to be told, and each story changes with the telling. Time changes them. Logic changes them. Grammar changes them. History changes them. Each story is shifted side-ways by each day that unfolds. Nothing ends. The only thing that matters, as Faulkner once put it, is the human heart in conflict with itself. At the heart of all this is the possibility, or desire, to create a piece of art that talks to the human instinct for recovery and joy.
I tell the story to you now, but in each telling the story itself changes a little, changes direction, and that in turn changes you and me. So be very careful not only in how you repeat it but in how you remember it, goslings. More often than you realize it, the world is shaped by two things -- stories told and the memories they leave behind.
I would say I'm a storyteller first, but game making is very wrapped up in how I think of story. If I were to have a story idea, and I decided to write a novel with it instead, I'd have to very consciously de-couple it from gamedom - for example, deliberately add in things that could not be represented in a game scene.
With 'Gerald's Game' in particular, we didn't have enough money or time and it was really hard.
Often I think changes within my work have been seen as sudden changes or sharp changes, but for me they're not that sudden. They have been there in the studio, but not so much in public.
Our state needs to make real, substantive structural changes to facilitate a sustainable financial future.
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