A Quote by Reed Morano
A sad truth I learned as a DP starting out was that it doesn't matter how beautiful I make it if the story and performance are not there. That should be number one.
Related Quotes
I also learned to tell a story. I think I learned from poetry how to time a story. Poetry's timing, beats and pauses. That white space on the page is as important as the black. The bottom of the page is blackout. It's performance.
Once you recognize that all documentaries are performance, it's not a matter of 'if' they should be performance. They are performance, and they are performance precisely where people are playing themselves.
funny how a beautiful song could tell such a sad story
I've learned from her [ Oprah Winfrey] really how to stand in one's truth, how if you just simply are who you are, you know, you're heavy, you're thin, you're happy, you're sad - if you just speak your truth as it comes into your mind, then that's what people relate to.
[Eugene Smith] was always writing these diatribes about truth, and how he wanted to tell the truth, the truth, the truth. It was a real rebel position. It was kind of like a teenager's position: why can't things be like they should be? Why can't I do what I want? I latched on to that philosophy. One day I snapped, hey, you know, I know a story that no one's ever told, never seen, and I've lived it. It's my own story and my friends' story.
In the end, the truth always wins out. It always does, no matter how many times you tell a story that isn't true. In the end, the truth comes out. There's either video evidence or photographic evidence. I think the American people are smart consumers.
Every good story needs a complication. We learn this fiction-writing fundamental in courses and workshops, by reading a lot or, most painfully, through our own abandoned story drafts. After writing twenty pages about a harmonious family picnic, say, or a well-received rock concert, we discover that a story without a complication flounders, no matter how lovely the prose. A story needs a point of departure, a place from which the character can discover something, transform himself, realize a truth, reject a truth, right a wrong, make a mistake, come to terms.
I've DP'd so many films for first-time directors, and I know the trauma, the heartbreak, the vulnerability, how much you have to believe in the story.
Without doubt, matter is unlimited in extent, and, in this sense, infinite; and the forces of Nature mould it into an innumerable number of worlds. Would it be at all astonishing if, from the universal dice-box, out of an innumberable number of throws, there should be thrown out one world infinitely perfect? Nay, does not the calculus of probabilities prove to us that one such world out of an infinite number, must be produced of necessity?
I wanted to use my story of starting Netflix - the whole thing, warts and all - to show how a dream could make it from the inside of one's head out into the real world.
I was interested in the ways we can write biography. When you're first starting to write about your own life it feels so shapeless because you don't know how to make your own story cohesive. How do I pluck a story out of the entirety of what it means to be alive. It occurred to me recently that when you're telling a story about your own life, rather than taking a chunk, you're kinda like lifting a thread from a loom.
Every time you finish something ... you figure you've finally learned to write, right? Then you start something else and it turns out you haven't. You have learned how to write that story, or that book, but you haven't learned how to write the next one.
Every person has the truth in his heart. No matter how complicated his circumstances, no matter how others look at him from the outside, and no matter how deep or shallow the truth dwells in his heart, once his heart is pieced with a crystal needle, the truth will gush forth like a geyser.
You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.
I don't need any crutches in order to concentrate. As a child I learned that you must be ready because I'd be yelled at more than other people and it would always be my fault. I learned that to be professional is your number-one priority. The art comes second. You learn that, in order to give your best performance, you have to be a good technician, which means never allowing negative influences affect your performance.
There should be a greater register that the public is quite interested in mature women. It's really about the story; it shouldn't matter whether it's male- or female-driven. What should matter is if the story is powerful and interesting. And this has been going on forever.
Related Authors
Alejandro Gonzalez Inarritu Quotes
Mexican
Director
Ava DuVernay Quotes
American
Director
David Lynch Quotes
American
Director
George Lucas Quotes
American
Director
Guillermo del Toro Quotes
Mexican
Director
John Waters Quotes
American
Director
Judd Apatow Quotes
American
Director
Martin Scorsese Quotes
American
Director
Nicolas Winding Refn Quotes
Danish
Director
Oliver Stone Quotes
American
Director
Peter Jackson Quotes
New Zealander
Director
Quentin Tarantino Quotes
American
Director
Ridley Scott Quotes
British
Director
Steven Spielberg Quotes
American
Director
Werner Herzog Quotes
German
Director
Woody Allen Quotes
American
Director