A Quote by Steven Pressfield
The last element in drama is high stakes. War, of course, is life and death - survival, not only for the story's characters, but often for the society itself. That's why I'm drawn to stories that are built around wars, even if they're not technically "war stories."
Related Quotes
Most politicians - those people who live, eat and breathe politics - like to sit around and talk about politics and tell political war stories. Reagan didn't do that. His war stories were movie war stories and Hollywood war stories. He loved that.
But, like all metaphoric wars, the copyright wars are not actual conflicts of survival. Or at least, they are not conflicts for survival of a people or a society, even if they are wars of survival for certain businesses or, more accurately, business models. Thus we must keep i mind the other values or objectives that might also be affected by this war. We must make sure this war doesn't cost more than it is worth. We must be sure it is winnable, or winnable at a price we're willing to pay.
We are shaped by stories from the first moments of life, and even before. Stories tell us who we are, why we are here, and what will become of us. Whenever humans try to make sense of their experience, they create a story, and we use those stories to answer all the big questions of life. The stories come from everywhere--from family, church, school, and the culture at large. They so surround and inhabit us that we often don't recognize that they are stories at all, breathing them in and out as a fish breathes water.
War stories deal in death. War illuminates love, while love is the greatest expression of hope, without which any story rings untrue to life. And to deny hope in a story about such darkness is to create false art.
You can't rewind war. It spools on, and on, and on, looping and jumping, distorted and cracked with age, and the stories contract until only the nuggets of hatred remain and no one can even remember, or imagine, why the war was organized in the first place.
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.
Is it not tragic, for example, that while in the last World War almost everyone believed it was the war to end all wars and wanted to make it so, now in this Second World War almost no writer that I have read dares even suggest that this is the war to end all wars, or act on that belief? We have lost the courage to hope.
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.
Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly. Maybe I'm drawn to it as a story element.
In the '50s, a lot of stories were built around radiation and the proliferation of new technology. In the '70s, there were a lot of stories that dealt with the Vietnam War. So comic books have always been a reflection of the times we live in.
A lot of the stories I write about have an element of mystery. They're crime stories or conspiracy stories or quests. They do have built into them revelations and twists. But the revelations, to me, come from seeing history as it's unfolding, or life as it's unfolding.
It is good that in our TV industry, stories revolve around female characters more than male characters but there should be no sex war.
I am sick of war. Every woman of my generation is sick of war. Fifty years of war. Wars rumored, wars beginning, wars fought, wars ending, wars paid for, wars endured.
One of the reasons it's important for me to write about war is I really think that the concept of war, the specifics of war, the nature of war, the ethical ambiguities of war, are introduced too late to children. I think they can hear them, understand them, know about them, at a much younger age without being scared to death by the stories.
That larger story in 'Salvage the Bones' is just about survival, and I think that, in the end, there are things about this novel and about these characters' experiences that make their stories universal stories.
Anyone who has been in business can tell war stories about the bumps in the road. But if they've outlasted the competition, ask for their stories about survival. They've figured out how to turn disappointments into opportunities.
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