A Quote by Shoojit Sircar
I purposely adopted a style in my storytelling wherein I don't have to explain everything or why the story is moving in a particular way.
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There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
I can't explain chemistry. I really can't. I haven't got a clue what it's all about. It just happens. It's like falling in love. You can't explain why you fall in love or explain why it's this particular person.
But everything written has style. The list of ingredients on the side of a cornflakes box has style. And everything literary has literary style. And style is integral to a work. How something is told correlates with - more - makes what's being told. A story is its style.
I have a particular style of writing and my voice sounds a particular way, which lends itself to a certain style.
…the Genesis story is just one that happened to have been adopted by one particular tribe of Middle Eastern herders. It has no more special status than the belief of a particular West African tribe that the world was created from the excrement of ants.
It's akin to style, what I'm talking about, but it isn't style alone. It is the writer's particular and unmistakable signature on everything he writes. It is his world and no other. This is one of the things that distinguishes one writer from another. Not talent. There's plenty of that around. But a writer who has some special way of looking at things and who gives artistic expression to that way of looking: that writer may be around for a time.
Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.
What I like is not a particular genre, it's storytelling. There's a lot of great storytelling in jazz, and in folk and in country music.
It's obvious that I must explain what I want from an actor, but I don't want to discuss everything I ask him to do, because often my requests are completely instinctive and there are things I can't explain. It's like painting: You don't know why you use pink instead of blue. You simply feel that's how it should be - pink. Then the phone rings and you answer it. When you come back, you don't want pink anymore and you use blue - without knowing why. You can't help it; that's just the way it is.
I have no particular reader in mind, but a passionate desire to tell an honest, moving story.
It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.
The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.
Because there is less female storytelling, especially motherhood storytelling, there has been immense pressure on my storytelling to represent more people, and to do so in a sort of unrealistic way.
With me, a story usually begins with a single idea or mental picture. The writing of the story is simply a matter of working up to that moment, to explain why it happened or what caused it to follow.
My style is colloquial storytelling. It's the way we tell stories to one another - it's not writerly, it's not overdone.
My parents told me from the time I can remember that, 'Yeah, you're adopted. But this is your family.' I can remember my mom, she tells me this story: when I was little, I was looking at her, and I was like, 'Why isn't my skin the same color as yours?' She was like, 'Oh, you're adopted, but I wish I had pretty brown skin like you.'
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