Americans think cinema is about storytelling; I don’t believe that. I think it’s a language and everyone has to find their own way of speaking. It’s not so much what you say as the way you say it.
‘Fahrenheit’ was a very difficult product to sell to publishers initially because no-one believed in storytelling or emotion.
As long as your storytelling and emotional depth are intact, that’s what people will focus on.
Personally, I’ve made myself a very small window of what I enjoy in this business, which is I love being a big part of the storytelling process.
I really have thought about immersive storytelling my whole career, so when I first heard about VR, I was like, ‘Oh, this sounds like it’s for me.’
So much Western storytelling comes from Scandinavia. I’ve read that in the past, storytellers would travel to Iceland and exchange stories. It’s kind of the birthplace of great storytelling.
My style is colloquial storytelling. It’s the way we tell stories to one another – it’s not writerly, it’s not overdone.
‘Once’ constantly surprises me. I think it’s the power of the music and the storytelling that people connect with.
Storytelling is ultimately a creative act of pattern recognition. Through characters, plot and setting, a writer creates places where previously invisible truths become visible. Or the storyteller posits a series of dots that the reader can connect.
The thriller is not a recent invention. It probably goes back to the dawn of storytelling.
I loved the idea of dramatic art of storytelling as a way to make sense of things. It’s really what I love and what I care about.
I love creating partnerships; I love not having to bear the entire burden of the creative storytelling, and when I have unions like with George Lucas and Peter Jackson, it’s really great; not only do I benefit, but the project is better for it.
I always approach storytelling with the idea that the audience will get it. They understand almost better than we do, because they get to watch it from an entirely different perspective with new eyes.
In acting, every day is different, and I guess it appeals to my storytelling imagination. But I’ve been very fortunate to get the chance to do what I want to do and earn a living from it to pay the mortgage.
I went to Princeton to major in comparative literature. I never went to film school, but I studied storytelling across mediums – poems, literature, film, and journalism.
The most important thing is, how can I move forward towards something that I can’t articulate, that is new in storytelling with moving images and sound?
I’ve always had an interest in story-telling and history and just film and art in general, but particularly when it comes to storytelling, I think the reason why we became involved in film is because we wanted to get some great stories out there.
Newspaper reporting is really storytelling. We call our articles ‘stories,’ and we try to tell them in a way that even people who don’t know all the background can understand them.
It took many years to accept that fantasy is the fuel for my storytelling passion, and without that, I really am a hack, writing for money or approval rather than for the pure delight of storytelling.
Atanu is one of my favourite directors. His script, style of storytelling and characterisation are always very different.
I think storytelling in general is how we really deeply know things. It’s ancient.
Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can’t do that.
When I walk into a room, I know my storytelling has value and I have to sell my idea. I have to help people see the financial value and gain in my work.
There’s a very old tradition of theater actors doing their own makeup. It’s like putting on your mask. There’s an element of storytelling involved in it – you put on your character when you put on your makeup. At least, that’s how I like to look at it.
My experience of great storytelling, working with classics, is just finding a way to present it simply but let the story do its own work, or be an invite to the audience’s imagination.
Blending consensus historical events and personages with imaginary occult forces is a strong recipe for counterfactual storytelling goodness that combines the best of two worlds: resonant history with wild-eyed fantasy.
I’ve always kept a journal and brought storytelling into my teaching.
First of all, I don’t dislike direct storytelling – people seem to think that about my games! Actually, the truth is, I’m just not good at implementing direct narrative in my games.
I really love storytelling, and I love the stories as they reveal themselves. It’s an incredibly nourishing process; it’s probably the closest I come to having a religion.
The author always knows more than the reader does at the start of a novel, and gradually, they share that knowledge with the reader – that’s storytelling.
For years, I have been inspired by the inventive and masterful storytelling of the ‘SAO’ franchise. I’m thrilled to get the opportunity to work with such talented partners to bring this cutting-edge yet timeless story to a new format at Skydance.
Good storytelling appeals to me – good writing.
Sometimes I think on television, you use maybe a tenth of what you are able to do. So it’s nice to go, ‘Well, I’m gonna take two months and reinvest in acting and storytelling.’ You don’t get to do that on television.
Storytelling is not what I do for a living – it is how I do all that I do while I am living.
Storytelling, in print or speech, needs vital energy.
Storytelling is powerful; film particularly. We can know a lot of things intellectually, but humans really live on storytelling. Primarily with ourselves; we’re all stories of our own narrative.
Tell a story. You don’t have to do a thousand things in two minutes when you can do one just as good and still tell that story with your face or how you land or your reaction. That’s a lost art. Storytelling is a big part of our industry, and if given time, you can do it properly.
Stories about travelers coming into town and doing good have been part of our storytelling since the Bible.
HBO is undeniably a leader in meaningful storytelling in a wide array of formats. I’m honored to join the REAL SPORTS team and look forward to continuing my fervor for uncovering unique and impactful stories.
I think the crux of this urgent and real conversation about representation and diversity in art-making and storytelling both behind and in front of the camera ultimately has to do with simply seeing more human perspectives.
I wrote my first screenplay on a lark, because it was a storytelling format that felt like a familiar shorthand – we all watch movies, don’t we? But even though I grew up in Los Angeles, my family was entirely unconnected with the movie industry, and I never truly believed that it would one day be my fate.
Joe and I have always been drawn to ensemble storytelling. We like the idea of telling stories from multiple characters’ points of view and thinking about the story from multiple characters’ points of view.
As a filmmaker, I want to bring some value, some thought in the mind of my audience. When I embark on the journey of storytelling, I am an explorer.
Everything feels so personal when you’re an actor because you’re so open and vulnerable, and you have to trust your director to guide you to where the storytelling needs to go.
Well, I suppose I’m interested in ways of storytelling and in stories that are about storytelling.
Anybody working on storytelling has my respect.
When you have 12 hours of storytelling, the cool thing about it is that you get to really leave people with question marks, but hopefully wanting to come back.
Audiences still crave storytelling.
My heart is in independent film-making. For me, it’s where the fun, gritty storytelling is being told.
The Monte Carlo TV Festival is great because it’s a celebration of television and great storytelling.
I want to be around people that are just as enthusiastic about the process and storytelling as I am.
Robert Bolt’s storytelling is the kind that I grew up with and aspired to.
When you’re telling taut, tight storytelling that has any kind of built-in plot twist elements, you tend to want to stack everything up on top of itself as opposed to letting things breathe and be languid in terms of the passage of time.
Storytelling has a narcotic power.
As new technology emerges as the greatest challenge to novels since the advent of film, it may be that the fragmentation of storytelling into installments key to Dickens’s era will be recreated in some way.
When I think about the shows that we have on our air, we’ve been known for a long time for shows that feature strong, dynamic, powerful women at their forefront. And we’re going to continue with that kind of storytelling.
Storytelling, mythology and film provide a lot of hope but, on the flip side, can also create delusion.
European films were what it was about for me – the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can’t really find in American films.
