A Quote by Carol Bly
No work of literature is the product of only one or two conscious ideas. A story is mysteriously dense of meaning.
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A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.
My problem is to bring together in a painting two seemingly conflicting, impossibly unmixable ideas. One is that the finished work shall evoke a sense of recognition, of the mysteriously familiar... the other is that in order to do the first I must deeply know my subject.
Only work which is the product of inner compulsion can have spiritual meaning.
Whatever you do in life, there's content and form; only those two put together create special meaning of a great work of art or great interpretation of music or a great story that you tell.
Only meaning can make a difference and we all know there's no meaning. All stories express a desire for meaning, not meaning itself. Therefore any difference knowing the story makes is a delusion.
It is gorgeously shot, and Andrew believes that the old school way of making films in the best way. Meaning: you have a story, and you stick to the story. You don't change and alter the story because of people who've invested in it and what to put product in a shot.
You work for so long on a graphic novel that it's easy to question your ideas or to burn out on drawing. But you plug away at it and trust in the story you want to tell. It's a marathon, but the finished product is really satisfying.
Ideas are interesting to me, and religions are a place where ideas have been very subtly embodied for thousands of years. All literature started as sacred literature.
One of my standard - and fairly true - responses to the question as to how story ideas come to me is that story ideas only come to me for short stories. With longer fiction, it is a character (or characters) coming to visit, and I am then obliged to collaborate with him/her/it/them in creating the story.
When you think of a movie, most people imagine a two hour finished, polished product. But to get to that two hour product, it can take hundreds or thousands of people many months of full time work.
The ideas always have to be in service of the story. And that's what Scott and the writers did - they weren't trying to beat you over the head with an idea; they had a story they wanted to tell, and they had ideas, so they used the story as a way of fleshing out the ideas. It all depends on where they want to go with it.
Let's get one thing clear right now, shall we? There is no Idea Dump, no Story Central, no Island of the Buried Bestsellers; good story ideas seem to come quite literally from nowhere, sailing at you right out of the empty sky: two previously unrelated ideas come together and make something new under the sun. Your job isn't to find these ideas but to recognize them when they show up.
Just as words have two functions - information and creation - so each human mind has two personalities, one on the surface, one deeper down. The upper personality... is conscious and alert... The lower personality is a... perfect fool, but without it there is no literature.
Careers are funny things. They begin mysteriously and, just as mysteriously, they can end; and I am at just the very beginning of what I hope will be a long and satisfying life in the theater. But, whatever happens, I am grateful to have had my novice work received so well, and so quickly.
One of the best ways to convince someone is to use a telling example, a story, a narrative. When Steve Jobs announced a new product, he told a story, exzlaining how a product would change the world as we know it. He turned Apple into a story whose challenges and adventures you want to hear about.
Careers are funny things. They begin mysteriously and, just as mysteriously, they can end.
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