A Quote by Karina Longworth
Within a scantily plotted, novella-style narrative (the movie is an adaptation of a short story by Tom Bissell), single shots become story events that mere mention would spoil.
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Having made films, I know very well that the scope of the average 90- to 120-minute movie is about the same narrative heft as a long short story or a novella.
The word "story" is short for the word "history." They both have the same root and fundamentally mean the same thing. A story is a narrative on an event or series of events, just like history.
I'm not sure if my story will become a movie. Some of my western friends sent my story to people they know in the movie industry. But one consistent response was there aren't any main western characters in my story, so it's unlikely to be made into a movie in English.
A short story is "a short prose narrative, requiring from a half hour, to one or two hours in its perusal...having conceived, with deliberate care, a certain unique or single effect to be wrought out.
The short story, its course plotted and its form proscribed, has become too efficient... but efficiency is not the most, it is perhaps the least, important among the undoubted elements of good literature
Telling the story with only a few shots, I love that style. It makes you feel like you're part of the action, part of the story. It reminds me of the theater, where one act is basically like one long shot. It almost makes you forget that you're seeing a movie.
A typical twenty-page short story would work quite well as a graphic novel. A single graphic novel of maybe 120 pages would condense down into a short story quite nicely.
When I would be on the stage singing, I would see a movie of something that happened, I would be telling the story. I would be describing the story in sound, but my goal would be to make somebody else run their own movie.
The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.
I write movies, so - I look at boxing, and I commentated on it, as if I were telling you the story of a movie or a short story.
'The Story Of A Marriage' was initially a short story I wrote, and before that, it was a family story. It was a story that a relative of mine told me about herself in the '50s, and it was a story that no one else in my family believes, and it might not be true.
In March of 2001, I revisited the short story, and found that thought it did not work well as a short story, it might work much better as a longer one. The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.
It's probably why I'm a short story writer. I tend to remember things in the past in narrative form, in story form, and I grew up around people who told stories all the time.
At the beginning when you're writing and building the beats of the story, everything that you put in there seems very essential to the story. However, when you have the movie finally edited and it's 4 four hours long, you realise that some of the events and some of the beats can be easily lifted but the essence of the story remains intact.
A ten- or twelve-page story seems too easy, which is a funny thing to say considering that writing a decent short story is devastatingly difficult. Yet it still seems easier than a novel. You can turn a short story on a single good line - ten pages of decent writing and one good moment.
While the story about the hunt for bin Laden has been exhaustively reported and the key sources and witnesses are in agreement about the main points of the narrative, of course, it's still possible that we could learn new details about the story that would add to the narrative.
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