A Quote by Seth Numrich

I'm always interested in storytelling and whatever form that comes in. — © Seth Numrich
I'm always interested in storytelling and whatever form that comes in.
Television is what we call the long form of storytelling, where we tell stories over thirteen, twenty-two, or twenty-four hours. Miniseries is an eight-hour form of storytelling, and film is a two-hour form. Each and every one of them are important to me, because they're a different modality of storytelling.
I've always been drawn to storytelling, and acting is the most immersive form of storytelling you can get involved with! You're actually in the story when you're acting.
I mostly associated video game storytelling with unforgivable clumsiness, irredeemable incompetence - and suddenly, I was finding the aesthetic and formal concerns I'd always associated with fiction: storytelling, form, the medium, character. That kind of shocked me.
I'm always interested in projects. Whatever I do, I'm interested in the color of the material. I'm not interested in who's making it. I'm more concentrated on the work.
Well, I suppose I'm interested in ways of storytelling and in stories that are about storytelling.
I wasn't so interested in merchandising through CD or whatever form. I wasn't really so aggressive about promoting my own work. I had my recordings from the past, but I never thought someone was interested in releasing it.
If you are interested in a form of science or interested in a particular kind of business or whatever - or if you want to be a writer, there's so much information out there, it's almost too much.
I think my love is storytelling. No matter what it is, it's storytelling. And so whatever the medium is, what's right for the story, I enjoy doing it.
I always did go against the singer-songwriter form. I think I've always had a lot of storytelling songs.
When you work in form, be it a sonnet or villanelle or whatever, the form is there and you have to fill it. And you have to find how to make that form say what you want to say. But what you find, always--I think any poet who's worked in form will agree with me--is that the form leads you to what you want to say.
I always want to be the best at what I do. As a kid, whatever I was doing, if I was playing football or whatever I was applying my energy to at the time, I always wanted to do it to the best of my abilities. And I was always interested in finding out how I could do it better.
Daniel Woodrell has made a name as a master of prose with personality - a densely descriptive, gamey form of storytelling, one might say traditional storytelling - of late rather an unfashionable mode.
This continuity of sound and form was something that I became really interested in from working with Ligeti. He was always going on about how form has to be continuous.
Good storytelling doesn't have to be in the form of the classics. It doesn't have to be revered by everybody. In fact, to me, the best storytelling is not universally loved by every single person. I think you can water down the ethicacy of the work, itself.
I'm not interested in gothic storytelling or the horrific for its own sake. I'm always interested in it as a way of getting at larger ideas or important meaning. And you don't see that as much as you'd think in the history of horror cinema. A lot of times, it's scariness for scariness' own sake.
You imagine a reader and try to keep the reader interested. That's storytelling. You also hope to reward the reader with a sense of a completed design, that somebody is in charge, and that while life is pointless, the book isn't pointless. The author knows where he is going. That's form.
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