A Quote by Sam Esmail
The experience you're going to take the audience on is as important as the story you're trying to tell. And that experience needs to excite me so much that I am desperate to share it.
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One day I hope to open a shelter of my own. I think it's really important to share my own story with women who've been abused, because going through that experience has led me to where I am today: It's given me the strength and motivation to be the best that I can be.
I didn't use anybody's story. I used the context and the structure of the situation. People were so, so desperate to tell their story and begin to digest their experience - like turning it into a story - that after the fist few weeks I could go with a pad and pencil and take notes. People didn't seem at all bothered by that.
I believe that everybody needs to tell their story - to be heard, to be seen, to be acknowledged, to be understood. We all want that, deep down inside - and writing a book is a great way to make sense of your own experience and to share it with others.
Before every session, I take a moment to remember my humanity. There is no experience that this man has that I cannot share with him, no fear that I cannot understand, no suffering that I cannot care about, because I too am human. No matter how deep his wound, he does not need to be ashamed in front of me. I too am vulnerable. And because of this, I am enough. Whatever his story, he no longer needs to be alone with it. This is what will allow his healing to begin. (Carl Rogers)
To achieve the intimacy between performer and audience in storytelling, I feel like I have to let the audience in on my emotional state, not just, "Here's a story I'm going to tell by rote, and you're just going to listen to it, because I'm such a wonderfully entertaining fellow." It's the idea of sharing enough of myself that it's not just all about, "Look at me, look at me." There's an element to it of, "You understand what I'm talking about, right? You've been in this place that I've been in," which makes it a richer experience.
To me a good book is like a quiet friend—a friend who’s happy to share thoughts and feelings with you, who’s always there when you need them. Best of all, this friend doesn’t have any secrets. They trust you to understand them. They take you to their innermost places. They share their sensations and emotions—and they let you experience them. Wherever you go and however you feel, they are always by your side. For an hour, a day, a week, or forever, their life becomes yours. Their story is your story. That’s the kind of book I’m trying to write.
I want artists to tell their story and share their life experience.
You can't really take a vinyl record player on a plane so you're not going to have the same experience, but if you walk yourself away and allow yourself to experience these different moments with music, you're so much richer in experience for that. That's what I believe.
I'm not a huge fan of 3-D, though. Honestly, I think that movies are an immersive experience and an audience experience. There's nothing like seeing a film with 500 people in a theater. And there's something about putting on 3-D glasses that makes it a very singular experience for me. Suddenly I'm not connected to the audience anymore.
The magic happens when you take facts and figures, features and benefits, decks and PowerPoints - relatively soulless information - and embed them in the telling of a purposeful story. Your 'tell' renders an experience to your audience, making the information inside the story memorable, resonant and actionable.
When we hold to the core, the opposite sides are the same if they are seen from the center of the moving circle. I do not experience; I am experience. I am not the subject of experience; I am that experience. I am awareness. Nothing else can be I or can exist.
[W]hen you're shooting a doc, you're trying to class it up because you can. You know, you're trying to make this feel like cinematic experience. And when you're doing fiction you're trying to do the opposite thing you're trying to take this very artificial experience this very artificial experience and make it feel real and visceral.
I think when you're younger, as an actor you have much more of a notion that you are doing something to the audience. But with experience, I think you begin to worry less about what the audience's experience is and concentrate on working with the other actors, and that tends to let the audience do more work.
Everybody's got one killer story. It doesn't take talent to tell that story, it just takes experience.
I don't feel like my work is impersonal - it is, in many ways, a reflection upon me - but that's ultimately not the point. I'd rather each piece be seen as part of a larger experience, and that each installation be approached as a point of departure. As open as I am trying to keep things in my practice, I want the audience's experience to be as well. That's what keeps things existing.
I think a lot of things are written from experience, but then you become a writer and talk about other people's experience and you tell stories. I mean, you can't just tell your own story all the time.
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