A Quote by Roger Mudd
And what it depends on, of course, is whether the story itself is worth the ethical compromise it requires and whether the competition is onto the story.
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Whether or not this story has a happy ending depends, of course, on who is reading it. Whether you are a wolf or a girl.
The only thing worth thinking about, when I write a story, is whether I like it, whether I want to write it, whether it excites me.
One of the things we've always tried to do is help others with our story. Whether it's with the infertility issues, whether it's with the breast cancer, we said we're gonna turn these negatives into positives. And if we can help others by sharing our story, then it's worth it.
A new writer starting out today, whether it's for TV or film, they have to remember that they're telling the story to themselves first of all, and they have to tell the story so that their life depends upon it.
If you have to become a filmmaker, find a story that takes you away, and tell that story. Don't think about whether it's going to sell, or whether it's going to make money, or whether it's going to appeal to distributors. Do something from the heart that really matters, and then you'll do something good.
Whether you work in news, sport, politics, whatever, it's exactly the same; a story is a story, is a story. I consider myself first and foremost a journalist.
I made a commitment to myself: that I wanted to be an actress, and I wanted to do films that make a difference. Whether it makes someone laugh, or it has a moral to the story - it doesn't have to be an ethical film, but it has to move people. If it doesn't excite me, it's not worth doing - it's better to work on myself and my own life and wait until another great thing comes along.
Writers shouldn't fall in love with their characters so much that they lose sight of what they're trying to accomplish. The idea is to write a whole story, a whole book. A writer has to be able to look at that story and see whether or not a character works, whether or not a character needs further definition.
Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.
I always believe that every song tells a story, so the last thing I want to do is edit out like the meat of the story. I would pick songs based off a), whether I felt like I could do anything with them, and b) whether I felt like I could keep the story intact. And then you sit in with one of the piano players and one of the vocal coaches and kind of work out your arrangements that way.
All I'm saying is that, you know, whether we're worth a billion, whether we're worth a million, whether we're worth $1,000, it's what's in your heart. You know, $100 a month from somebody or $50 a year for people who may be in a less economic bracket, that's as important to the Lord.
Usually, when I read something, I'm looking for the story first. And then, when I re-read it, I check every part of it to see whether every scene is necessary. You imagine yourself watching the movie, to see whether or not you're losing the through-line of the story.
Life is an end in itself, and the only question as to whether it is worth living is whether you have had enough of it.
We always have to ask ourselves whether the level of risk is worth the story. What is bravery, and what is bravado?
I write - and read - for the sake of the story... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end itself?
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
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