A Quote by Robert Stone
It's all about letting the story take over.
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Entrepreneursh ip is not about getting one over on the customer. It’s not about working on your own. It’s not about looking out for number one. It’s not necessarily about making a lot of money. It is absolutely not about letting work take over your life. On the contrary, it’s about turning what excites you in life into capital, so that you can do more of it and move forward with it.
I think we're in this exciting moment of Internet streaming storytelling, and it's anybody's guess what that is or what it means. It can take on any form. That's what's so exciting about the time we're in; these filmmakers are coming in and letting the story tell itself as it wants to be told.
I'm excited about becoming a transmedia storyteller. The idea that we can tell the 'Agent Mom' story online with MTV Comics and build a fan base that we can take over to Paramount to discuss turning that story it into a movie is just awesome.
For my children, it makes sense to talk about modernizing Social Security, letting them create stronger personal accounts, letting them get a higher rate of return over the long run.
There's a huge cost to freedom in letting people talk about how you print these plastic guns or letting them say these things about arming for tyranny. There's also a cost to letting the government say these ideas can't be expressed, this is treason. It's difficult.
I start with a tingle, a kind of feeling of the story I will write. Then come the characters, and they take over, they make the story.
My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.
A readers eyes may glaze over after they take in a couple of paragraphs about Canadian tariffs or political developments in Pakistan; a story about the reader himself or his neighbors will be read to the end.
Vietnam, we take over by doing pedicure! That's how we take over. We take over one foot at a time, damn it - that's the plan of attack right there. We take over from the toe up, that's the plan. We spread over USA like fungus from the toe.
Before I begin a novel I have a strong sense of at least one central character and how the story begins, and a more vague sense of where things may wind up, but at some point, if the novel is any good at all, the story and characters take on lives of their own and take over the book, and the writer has to be open to that.
I am wary of repeating myself too much. In this age of Netflix, as a Netflix show, if you want to go back and watch a season 1 episode, you can do that easily. I'm not interested in repeating the same story beats over and over and over again. But part of the truth of BoJack story is about how much he repeats himself and these patterns that are difficult to get out of. I'm trying not to be evasive about that. I'm not using that as an excuse. I think that's convenient to fall back on as a TV writer: "Oh, it's a show about stagnation."
I feel like I've kinda danced around telling the truest story I can for many years of my life. I've been a little distracted by trying to be shocking or edgy or cool or whatever, and by letting go of that and telling the truest story I can - even if it's about aliens and talking raccoons - it works.
Everybody has that thing about them that makes them special, and sometimes we try to dull it down or we don't always want to expose it, and maybe we've been taught that way or whatever. It's just a matter of letting it out and letting it go and letting people in on it.
He made a story for all of them, a story to give them strength. The words of the story poured out of his mouth as if they had substance, pebbles and stone extending to hold the corporal up...knees from buckling...hands from letting go of the blanket.
To shoot a conventional film means that you are always covering yourself. You are putting nets and, in a way, letting bad decisions take over.
I was very concerned about who was going to take my story and realize it, so I was very particular and spent a lot of time going over things with him, talking about how I wanted it to be told.
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