A Quote by Sophie Rundle
It's the reason I love doing TV - revisiting stories and characters and the length of the story arcs.
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I think the reason the stories are briskly paced, when they are, is that I like story. I like stories where things happen and there are surprises and reversals, in addition to vivid characters and a memorable voice. So those are the kinds of stories I try to write. And it turns out that's pretty much the only kind of writing that works for TV. It's a medium that just devours story, demands surprises and reversals. So my sensibility is suited to TV storytelling, at least as we think of it today.
There's no reason the story of Christianity wouldn't be more prevalent in film and television considering the audience size who love and believe the stories. This is a broad audience and deserves to be on broadcast TV.
I suppose that, for me at least, the biggest difference betweenThe Gunslinger Born and the next two story arcs (The Long Road Home and Treachery), is that while Gunslinger Bornwas a translation of an existing novel, the next two arcs are really the stories that I've been weaving since I first started working with Steve King on the Dark Tower back in 2000/2001.
I think there are great roles for women in television because there is time to allow those characters to evolve. Even if you're the wife or the girlfriend or whatever it is that we women are, playing those things on TV, they are much more drawn out and there are greater arcs for the role. The roles are more integral to the complexity of the story.
I can't really write anything without knowing the ending. I don't know how people do that. Even with my superhero stuff, I have to know at least where I want to take the characters and what the ending of my story with them will be. I just can't structure stories or character arcs and stuff without knowing the endpoint.
For reasons which I can't logically explain, in all of the films I've done, I've ended up doing love stories of one kind or another, and it seems to me that love stories are extremely dependent on the obstacles you can place between the lovers. There is no love story without it.
Humans like stories. Humans need stories. Stories are good. Stories work. Story clarifies and captures the essence of the human spirit. Story, in all its forms—of life, of love, of knowledge—has traced the upward surge of mankind. And story, you mark my words, will be with the last human to draw breath.
One of the remarkable qualities of the story is that it creates space. We can dwell in a story, walk around, find our own place. The story confronts but does not oppress; the story inspires but does not manipulate. The story invites us to an encounter, a dialogue, a mutual sharing. As long as we have stories to tell to each other there is hope. As long as we can remind each other of the lives of men and women in whom the love of God becomes manifest, there is reason to move forward to new land in which new stories are hidden.
I always thought that life is full of stories and characters that feel like literary stories and characters. So when I started making documentaries, they weren't humble empirical things, just following people around. I was always trying to impose a story.
I love the smell of a theater. The old rooms and the carpet and all that stuff. I love to tell stories. Even before I was doing music, I saw myself as a director. So most of my songs come in a play form, you know, where there are characters and stories, so I like to go beyond just the song sometimes.
There are so many romantic comedies made, but very few dramas or love stories. And with a love story, you have to take time to develop three-dimensional characters.
What's neat about TV is you get really rich, an opportunity to tell really rich stories over the course of 20 hours. Film is cool because it's an hour and a half to two hours. You go on an adventure and by the end it's all cleaned up. Maybe in a franchise you have three chapters of a great story but in TV you can really get deep. You have more time to tell stories so I would definitely not rule out doing television in the future because I think it's a great medium for telling stories.
I think we're doing the right things for the right reasons. We're not doing it to sell products. We're not doing it to be popular. We're doing it because in our judgment these stories are important to do, and at this length and this much depth.
It is good that in our TV industry, stories revolve around female characters more than male characters but there should be no sex war.
When I originally sold X-Men it was because I knew there was 40 years of stories. That was the point! Not only to do the movie and establish the characters, you know, you love the one you're doing. It was because there are all these great stories, what a wealth of drama.
The editor, Stephen Segal, actually called me with the idea of creating an accordion book [ "The Thorn & The Blossom"], and asked if I could write a story for it. I was so intrigued! I immediately knew that it had to be a love story told from the points of view of the two main characters. Right away, I started working on a proposal. And once I had my main characters, Brendan and Evelyn, it was as though they started telling me their stories.
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