Where the gaming world is going – and certainly Activision proved it by hiring me – is being willing to push and bend and move in a new direction of actually capturing the character and storytelling.
What’s fun to me is that we can make movies but we are no longer restricted by this two-hour timeframe. It gives us this bigger canvas to paint on. It opens up all sorts of new storytelling possibilities.
For me, storytelling is the most interesting part of movie making.
For storytelling purposes, there has to be conflict, but that doesn’t mean the people have to be mean. I’ve never liked mean-spirited comedy.
With any sci-fi fantasy storytelling, you must have rules be very clear, otherwise you lose people, like ‘OK, they can fly; now they can’t fly.’
‘Guild Wars 2’ is a wider world in that we have a lot of different mechanics available for storytelling. We have our personal story, the story of you, which is tailored for your character. You answer some basic questions; you make some decisions early on, and that follows through.
The storytelling in a movie is in the cut; it’s in the edit. It’s not an actor’s job, really. Your job is such a tiny little thing, and I love the feeling of juggling or tightrope walking.
I’m partial to epic poetry, which might be surprising given that I don’t write poetry at all. The combination of rollicking storytelling with musical language seems to me the highest achievement.
Not only a great game, ‘Uncharted 2’ raised the bar for storytelling for the medium. The game treated action as a part of the overall story rather than a way to move from plot point to plot point.
I mean, television has really changed a lot, and changed the way movie people think about working in the storytelling business.
Telling stories and having them received is so important. That dialogue is everything. I tell my students all the time that what separates us as human beings is our ability to hold stories. Our narrative history. There is so much power in that. Storytelling is our human industry.
I write about people in small towns; I don’t write about people living in big cities. My kind of storytelling depends upon people that have time to talk to each other.
My first love is definitely performing, but I just love storytelling, and that’s another aspect of it.
Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there – at least, if it is done right.
Obviously people loved ‘Mystery Road’, people loved the storytelling aspect of it, people liked the character.
I was a painter, then a novelist, then a journalist, then a screenwriter, and now I’m a director, and it feels all part of the same continuum. One led to the other, and it just feels like the natural confluence of all the ways of storytelling that I’ve been doing for almost 30 years.
Any question about narrative storytelling is answered by Dickens.
The marketplace tells us that good, visceral storytelling has a place. But there are lots of questions about the format that stories take.
I like the storytelling and reading the letters, the long-distance dedications.
I’ve always had an ear for melodies, and they veer pop. My lyrics are more country – what I love is the storytelling and the structure, how tight the rhymes can be. But pop melodies have always been intrinsically linked to my writing style.
The resilience of narrative storytelling and people’s love affair with television is impressive.
Film and television are major vehicles for American storytelling, and America is the biggest exporter and influencer in the world in terms of telling stories.
The fundamental difficulty that most novelists face when they are trying to adapt their own book into a screenplay is realizing that a screenplay is a completely different way of storytelling, and it has limitations.
There’s no harmony in most people in a way, and I’m attracted to it, and I think it makes for good storytelling.
Shakespeare is repeated around the world in different languages, just because it’s good storytelling.
The Internet has been a great outlet for storytelling. After all, there are web-based shows that have started online and have then gotten picked up. I think it’s a great opportunity for artists to get through the network roadblock. It just allows us another venue to be creative in.
Storytelling is as old as speech. It existed before humans first began to carve shapes in stones and press their hands upon the rocky walls of caves.
Storytelling and elegant style don’t always go hand in hand.
I like to start with the first chapter, end with chapter 40. No flashbacks, nothing fancy, just a direct storytelling.
I grew up in Oklahoma and Missouri, and I just loved film. My folks would take us to the drive-in on summer nights, and we’d sit on the hood of the car. I just had this profound love for storytelling.
I think people love having a person behind a brand who lives it. The idea of storytelling is really important.
I think stories do have an ending. I think they need to have an ending eventually because that is a story: a beginning, middle and end. If you draw out the end too long, I think storytelling can get tired.
I remember that – you know, I didn’t receive a formal education. I was educated in the Montevideo cafe, in the cafes of Montevideo. There, I received my first lessons in the art of telling stories, storytelling.
Once you buy into a television show, there doesn’t have to be resolution from week to week. You can develop characters and storylines and react to the audience, so you get more of a serialized version of storytelling where you can go much deeper into each character. It’s more like a novel.
We are all affected by the time we are born into, and of course that feeds into your work. Society is based on storytelling – religious myths, opera, film – and 1968 was always seen as a time of rupture and fragmentation. I have always been interested in those words.
The basic rule of storytelling is ‘show, don’t tell.’
I think most Irish people are creative. Whether it’s music, or dance, or… certainly storytelling is in the blood.
Before I became an actor, I was a visual artist, and I’ve always hankered for the storytelling behind the camera.
My brothers were the ones who taught me about mythology and storytelling, and showed me how to do stop-motion animation.
I wanted to get out of this country and experience different ways of seeing the world. So I went to Europe, but I went as an artist. I was increasing my skill set and exploring storytelling through painting.
The way I look at it, movies are a different medium for storytelling than books.
I think my love is storytelling. No matter what it is, it’s storytelling. And so whatever the medium is, what’s right for the story, I enjoy doing it.
With Storytelling, at least, it’s explicit: this is what the censors say American citizens, no matter what age, are not permitted to see, even though it can be seen by other people all over the world. I suppose you could call it a political statement.
Because storytelling, and visual storytelling, was put in the hands of everybody, and we have all now become storytellers.
I think storytelling is a thing of beauty, and also very difficult. It’s a craft you have to continue to work at.
A big part of directing animation is deciding what you really want to do and making sure it’s about something. My favorite thing about animation is the storytelling. You can really dig into the story and spend time with the writers. The writers don’t just write and leave.
I wish that more people were willing to turn down upfront money in exchange for doing things that are more original. Turning down a seven-figure check has a ripple effect on the budget, which has a ripple effect on the storytelling. The higher the budget gets, the fewer storytelling risks you’re able to take.
For me, I want to see diversity in storytelling sources because we live in a very diverse society, and the stories are for the whole society. That’s really important. For me, as a female filmmaker, when I was out on the festival circuit on 2006, I felt like such a freaking anomaly – an oddity.
I think that good storytelling of any kind does promote a humility in that it encourages you to see the world the way that other people see it.
The art of storytelling is reaching its end because the epic side of truth, wisdom, is dying out.
We’re so complex; we’re mysteries to ourselves; we’re difficult to each other. And then storytelling reminds us we’re all the same.
I think I’ve been able to build up a wide range of styles in storytelling, using comics in different ways from project to project. I think my art has become more accomplished, although I try to keep it from becoming slick or superficial.
I believe that the Kane/Undertaker story, if you look at epic storytelling like Greek mythology, that is what it is. It is the best piece of epic storytelling that the WWE has ever done.
I’ve been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
A lot of writers dream of feature films, but television – by way of TNT, CBS, Lifetime, and Hallmark Hall of Fame – has always called my name. And after seeing ‘True Detective,’ can there be any doubt that the storytelling on TV is as genius as it gets?
