There is very much a sense of different versions of storytelling within our ‘Camelot’ – who tells those stories, who creates them, who shifts them.
One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can’t look into the eyes of the protagonist, you cannot hold people’s attention for more than 15 minutes.
I’m very interested in storytelling and anything that plays with structure.
For me, the drive is storytelling. To be a part of an art that tells a story and to be a catalyst, a color in that, is very exciting.
In Haiti, as I understand it, storytelling and history itself are not a business of necessarily elucidating facts or the truth of an incident, but finding the version that is most entertaining and therefore will get retold and live in immortality.
Storytelling is an ancient and honorable act. An essential role to play in the community or tribe. It’s one that I embrace wholeheartedly and have been fortunate enough to be rewarded for.
My major allegiance has been to storytelling, not to history.
I was deeply infected with storytelling from the get go, and I truly love it.
Right before ‘American Dreams,’ I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.
Visual storytelling is at once immediate and subversive.
I would rather impress you with my storytelling than with the size of my waist and my hips.
But I think we’re also just talking about the literacy of the audience. The visual literacy of the audience. They’ve seen so many images now, especially here in the States. There’s so much to look at, to watch. So the visual storytelling literacy is harder to impress.
Storytelling is my currency. It’s my only worth. The only thing of value I have in this life is my ability to tell a story, whether in print, orating, writing it down or having people acting it out.
My humor tends to be a little more edgy than is appropriate for ‘Twilight,’ although I got some in there. That was fun! There’s just a tonal difference. For me, storytelling is storytelling. But, I do like writing for grown ups.
Storytelling is what lights my fire.
With TV, your first draft just doesn’t matter. It’s a skeleton, and then there’s draft after draft after draft, and so many other factors influence it. It’s just a whole different kind of storytelling.
All the Indigenous paintings throughout history, they were always a bird’s eye view, it’s the Indigenous way of storytelling.
I think ‘GoodFellas’ is just a perfect film. From an efficiency of storytelling standpoint, from an entertainment standpoint, from a performance standpoint, from a use of music standpoint, from a cinematography and editing standpoint – to me, it’s just a perfect movie.
Anxiety is your creativity turned into a weapon that you use to beat yourself up. And this is because anxiety is mostly storytelling – repeating poisonous stories that you’ve inherited from others. It feeds on your fear.
When you’re a storyteller, part of the process of storytelling is the kind of communion you form with the audience to whom you’re telling your story. If some segment of the audience doesn’t like that story, it doesn’t feel good.
When we moved from ‘Ice Age’ to ‘Ice Age 2,’ we were really stuck; a story didn’t just organically emerge. While I’m very proud of ‘Ice Age 2,’ from a storytelling sense, it’s a very thin story.
Storytelling is storytelling. Good stories need compelling characters and interesting conflicts. That’s the bottom line no matter what medium you’re writing for.
I think my sensibilities about storytelling and character just automatically come into play when I’m trying to work on any kind of narrative. For me, it doesn’t really matter what the source of the narrative is. I will be looking for ways to make it into an intriguing story with empathetic characters.
In older science fiction stories, they had to rely on storytelling as opposed to spectacle. The old run of the ‘Twilight Zone,’ the star was the writing and the storytelling, and the characters and the twists and the cleverness in the setup and payoff and execution.
It’s often lost in most Silicon Valley startups, the importance of storytelling when most people are thinking about they assemble their team and the critical functions that the team needs to be successful. Storytelling is normally not on the list.
The evil of storytelling is you’re trying to make the audience complicit in murder – ‘Kill the guy! Jump him!’ And then once you’ve done it, it’s like, ‘I’ve killed this guy, now what?’
When I’m working with pictures, with images and storytelling, it’s really about the sentiment and the emotional trajectory of the characters. That’s really where the music lives, I think. That’s what I’m focused on; that’s what I respond to most strongly.
Films used to be an event that required work and effort to get to a theater to see. Now, really good content is available immediately to us on many devices. At the same time, the audience’s appetite for storytelling is evolving, and people want to spend time with characters for many years.
It’s a risk, but I’m sort of ready to let go of thinking of movies as books that you can watch. The notion of, ‘If I put the narrative blocks in the right order, this will solve all of my storytelling problems.’ No, it won’t, and you end up with little more than books on film.
Good scripts have always been, I think, hard to find. Good storytelling, good writing – it’s just not easy. I have made it a point that – if I’m going to put the energy into doing this work – I will wait until I find something I’m really happy with.
The hours I spent attempting to decipher some of Dunnett’s more oblique passages opened me to the possibilities of romantic storytelling.
We have always put the quest for balance at the center of our storytelling, whether it is the struggle to find it within one character, between a character and society, between disparate cultures or between humans and their environment.
In college, I got an internship at my local station in Honolulu one summer, and I just fell in love with broadcast news, reporting, and storytelling. After college, I started out at NBC, and I worked behind the scenes at ‘Today’ and ‘Dateline.’
I’m also on the Board at Sundance, so I’ve seen witnessed first hand the power of independent storytelling.
We use music, cinematic storytelling and very stylized backgrounds to create mood and atmosphere as ‘Samurai Jack’ travels an exotic landscape. The environment is a major character in each show.
People come to museums for storytelling and engagement, and the technology needs to facilitate that.
Monsters are a storytelling tool, like domestic realism and close third.
I think movies moving forward are going to become long-form storytelling.
The comics I made from 1990 to 1997 were largely based in vaguely urban, vaguely dystopic settings because that was my reference point for comics storytelling in general.
We promote Asian storytelling – not just Asian stories but Asian people in stories with the full spectrum of the human experience. When you say, ‘Oh, it’s not enough attention on Asians. It’s more black and white,’ that game becomes like you’re playing the discrimination Olympics.
I was brought up telling stories, when I was a kid, in the tiny village where I grew up. Storytelling was a tradition.
We like mature storytelling. We like dramatic storytelling. We like intense storytelling.
The way that Lucasfilm used ILM was George never restricted his thinking to things that he knew could be executed with the tools at the time. He would write what he thought would be cool and what he wanted from a storytelling standpoint with the assumption that, ‘Well, they’ll figure it out!’
Actors have an opportunity to use storytelling as a way to solve pain.
We’re always looking for ways to use technologies to open up new creative expressions for us artistically. So we’re constantly thinking about where something like VR may lead us in storytelling or what kind of tool that gives us as storytellers.
All novels are about crime. You’d be hard pressed to find any novel that does not have an element of crime. I don’t see myself as a crime novelist, but there are crimes in my books. That’s the nature of storytelling, if you want to reflect the real world.
I don’t need to write comics for a living. I have movies and TV for that. I write comics for one reason and one reason only: I love comics. I love the form, the structure, the storytelling process, I love everything about it.
Justin Lin, the writer and director of the teenage-wasteland drama ‘Better Luck Tomorrow,’ a shrewdly tense piece of storytelling, recognizes that sometimes it’s good for a filmmaker to stir up trouble.
It’s a leap of faith doing any serialised storytelling.
Suspension of disbelief is a necessary ingredient in all storytelling. So it has been with the government’s narrative that it is delivering Brexit.
We all have incredible relationships to what we eat, to what we don’t eat, to what we’ve eaten since childhood and what we were fed, to what food means to us. And so I find it a really powerful tool in storytelling and in opening people’s hearts and their minds.
