A Quote by Nicholas Stoller

The worst thing you can do is animate something, and then throw it out because it doesn't work, story wise. — © Nicholas Stoller
The worst thing you can do is animate something, and then throw it out because it doesn't work, story wise.
The worst thing you can do is animate something and then throw it out because it doesn't work story-wise.
When you take something extremely broad, then it is not a work of expansion or work of compression. It's hard because you have to decide what to throw out.
I'm a worst-case scenario person. I'm only interested in a story because I kind of go, like a magnet, to the worst thing that can happen.
Every now and then you'll say something that didn't quite work. But the important thing is, as a comic, you try to learn why it didn't. And then you adjust and figure out how to either make it work or just abandon it because it's just not funny.
The pleasure in complete domination over another person (or other animate creature) is the very essence of the sadistic drive. Another way of formulating the same thought is to say that the aim of sadism is to transform man into a thing, something animate into something inanimate, since by complete and absolute control the living loses one essential quality of life - freedom.
So I'll write it, and then I'll find out that I actually wrote something that is utterly useless. You can't use it in the story and it doesn't fit. So I just throw it away. I've done that countless times.
The worst thing is losing because you got tired, because you didn't work hard enough in training. Ugh, that's the worst.
Most of the time one is discouraged by the work, but now and again by some grace something stands out and invites you to work on it, to elaborate it or animate it in some way. It's a mysterious process.
If the worst thing that can happen is that nobody laughs, then I can deal with that, because the worst thing that can happen at the factory is that I could lose a limb or be crushed by a huge machine.
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
When you speak directly at things and don't say you're going to try to do something or that you hope to do something, the universe will work with you. Think about it this way - a boomerang goes out and comes back to you if you throw it. If you throw it out at the universe, it will come back down to you on Earth.
The worst thing is the blank page at the start. Then the horrible things written on the blank page. Then deciding whether or not to throw out those horrible things: lame scenes, lame characters, bad ideas.
Experimental novels are sometimes terribly clever and very seldom read. But the story that appeals to the child sitting on your knee is the one that satisfies the curiosity we all have about what happened then, and then, and then. This is the final restriction put on the technique of telling a story. A basic thing called story is built into the human condition. It's what we are; it's something to which we react.
I have the 'thing' worked out - the trick or the surprise or the pivotal fact. Then I just start somewhere and let the story work itself out.
I have the "thing" worked out - the trick or the surprise or the pivotal fact. Then I just start somewhere and let the story work itself out.
The trick is the paradox - turning your story inside out. Now if it is something that appears to be of total normality and then suddenly turns inside out and is a different thing all together then that's fun to write.
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