A Quote by Robert McKee

Story is about eternal, universal forms, not formulas. — © Robert McKee
Story is about eternal, universal forms, not formulas.

Quote Author

I steer clear of books with ugly covers. And ones that are touted as 'sweeping,'_ 'tender' or 'universal.' But to the real question of what's inside: I avoid books that seem to conservatively follow stale formulas. I don't read for plot, a story 'about' this or that.
I don't ever approach anything from the issue first, so I can't tell you that I've thought about tackling universal health care. I'd have to have some great story I'd want to tell, and then universal health care would become part of the way to tell that story.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
Now think about the Universal Law. It reflects to you exactly and precisely what you put out. If your thought-forms say, "I haven't got a clue about what I want," the Universal Law is going to say, "Listen, mate, if you haven't got a clue, neither have I.
We say that if a temple, or a symbol, or an image helps you to realize the Divine within, you are welcome to it. Have two hundred images if you like. If certain forms and formulas help you to realize the Divine, God speed you; have, by all means, whatever forms, temples, whatever ceremonies you want to bring you nearer to God. But do not quarrel about them; the moment you quarrel, you are not going Godward, you are going backward towards the brutes.
It is the mark of great art that its appeal is universal and eternal.............. Great art remains stable and unobscure because the feelings that it awakens are independent of time and place, because its kingdom is not of this world. To those who have and hold a sense of the significance of form what does it matter whether the forms that move them were created in Paris the day before yesterday or in Babylon fifty centuries ago? The forms of art are inexhaustible; but all lead by the same road of aesthetic emotion to the same world of aesthetic ecstasy.
It's exciting to me that Ride Along is a movie that has two African American leads, but it's even more exciting to me that it's not a movie about two African American leads. They just happen to be African American. It's a universal story. It's a story about a guy in love with a girl, and he's gotta get the approval of the overbearing, mean brother. That's a universal theme.
There can be no formula in arts. Formulas are for factory mass productions. There are no discoveries in already discovered formulas.
It's a universal story, it's an immigrant story, and it's a love story. In the United States, if you believe in yourself and you're determined and persevere, you're going to succeed.
You should know both the universal and the personal, the realm of forms and the freedom to not cling to them. The forms of the world have their place, but in another way, there is nothing there. To be free, we need to respect both of these truths.
All children mythologise their birth. It is a universal trait. You want to know someone? Heart, mind and soul? Ask him to tell you about when he was born. What you get won’t be the truth: it will be a story. And nothing is more telling than a story.
There is nothing frightening about an eternal dreamless sleep. Surely it is better than eternal torment in Hell and eternal boredom in Heaven.
With literature, sometimes a book is presented in the media as being say, a Muslim story or an African story, when essentially it's a universal story which we can all relate to it, no matter what race or social background we come from
With literature, sometimes a book is presented in the media as being say, a Muslim story or an African story, when essentially it's a universal story which we can all relate to it, no matter what race or social background we come from.
Within the human consciousness is the unique ability to perceive the transparency between absolute, permanent relationships, contained in the insubstantial forms of a geometric order, and the transitory, changing forms of our actual world. The content of our experience results from an immaterial, abstract, geometric architecture which is composed of harmonic waves of energy, nodes of relationality, melodic forms springing forth from the eternal realm of geometric proportion.
Universal design systems can no longer be dismissed as the irrelevant musings of a small, localized design community. A second modernism has emerged, reinvigorating the utopian search for universal forms that marked the birth of design as a discourse and a discipline nearly a century earlier.
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