A Quote by Oliver Stone
I'm not an activist. I'm a filmmaker. I'm a dramatist. My strength is to tell a story, to find a way to tell a story that makes it exciting. Our Untold History was a huge challenge. Snowden was no piece of cake, because writing code and breaking code is some of the most boring stuff you've ever seen.
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Telling Alan Turing's story in a two-hour film was a tremendous challenge. It felt in some small way like our filmmaking version of breaking the enigma code.
All we have is the story we tell. Everything we do, every decision we make, our strength, weakness, motivation, history, and character-what we believe-none of it is real; it's all part of the story we tell. But here's the thing: it's our goddamned story!
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
Vera said: 'Why do you feel you have to turn everything into a story?' So I told her why: Because if I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me. Because if I tell the story, it doesn't hurt as much. Because if I tell the story, I can get on with it.
The genetic code is not a binary code as in computers, nor an eight-level code as in some telephone systems, but a quaternary code with four symbols. The machine code of the genes is uncannily computerlike.
I'm not an activist at all. I'm a filmmaker, and I wanted the people involved to tell their own story.
So often with beginning writers, the story that they want to start with is the most important story of their life - my molestation, my this, my horrible drug addiction - they want to tell that most important story, and they don't have the skills to tell it yet, so it ends up becoming a comedy. A powerful story told poorly becomes funny, it just makes people laugh behind their hands.
I've always been into 'fast-paced, don't bore 'em, keep it moving along, stick with the story.' You know: tell a story the way I want to hear a story. I find it more rewarding to write for kids, but I also find it a little easier, because you can just let loose a little bit more in terms of fantasy and stuff.
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.
I don't ever approach anything from the issue first, so I can't tell you that I've thought about tackling universal health care. I'd have to have some great story I'd want to tell, and then universal health care would become part of the way to tell that story.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
I think, as writers, our first responsibility is to writing an honest story. Tell the story you want to tell, without pulling your punches.
Always think about how a piece of code should be used: good interfaces are the essence of good code. You can hide all kinds of clever and dirty code behind a good interface if you really need such code.
Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
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