Conventional forms of narrative allow for different points of view, but for this book I wanted a structure whereby each of the main characters contributed a distinctive version of the story.
Sometimes you write music to a script or while a film is being edited. Sometimes I write without seeing any images, but that’s rare. The approach is often based on practical decisions, but I’m interested in the narrative and physical space that music can occupy in a film or play.
Well, I think it’s important to have some kind of a narrative engine that pushes the audience through the landscape. But I love films like ‘Apocalypse Now,’ which is a very mood driven film. It’s a magnetic force that’s pulling them through.
I have always wanted what I have now come to call the voice of personal narrative. That has always been the appealing voice in poetry. It started for me lyrically in Shakespeare’s sonnets.
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.
What the underdog socialist has forgotten is that the story of the left ought to be a narrative of hope and progress.
Pop culture or advertising doesn’t work perfectly. No one is watching and mindlessly accepting every part of the narrative or ideology.
Even the pictures I was doing at college – a little narrative based on a butterfly catcher, or a chimney sweep – the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through – it’s exactly what I do now.
It has always been something I could do, and it may seem odd that in my case I seem to create an interesting narrative and frustrate the reader’s opportunities to follow it at every step.
Music is the subliminal connecting adhesive in film, or at least in narrative feature films.
An authentic and honest brand narrative is fundamental today; otherwise, you will simply be edited out.
Every masculine hero narrative I could find I wanted to steal for myself and twist to my size.
At the heart of every faith system is a bargain: on one side there is the comfort that comes from a narrative that suggests human life has cosmic significance, and on the other a duty to yield to moral commands that can, in the moment, seem rather inconvenient.
We don’t have a lot of narrative on TV or film, mainstream film, of brown queers. Latina queers, I can’t think of that many.
I’m not saying that if you’re working at home, raising a family, that’s not work. I want to disrupt the narrative around what it means to be a woman who works. The whole point of my brand is that women should be architecting the lives they want to live.
I was like: the narrative should be that the work that we did was never paid for so Leave.E.U., by not registering that we did that work, are the ones that should be in trouble.
I don’t know how video game narrative works.
The state can be a force for good. The Rule of law is absolutely essential to a good life. God has instituted government and leaders throughout history and throughout the Biblical narrative. However, the state is growing precisely as the church is fading as a force for good, and this does not seem to be a good trend.
I write in reverse: Rather than come up with a narrative and write jokes for that narrative, I write jokes independently of the narrative, then I try to fit them in.
I just don’t see myself as the heroine in my own narrative.
When I started making dances in the ’60s, narrative dance was sort of off the radar screen. What was important at the time in the avant-garde was minimalism.
As an actor I can bring the story, the narrative in each performance. If I can’t do that, then… might as well give up as an actor, hadn’t I?
It’s something that you pick up at a history class in college, the idea that history and time is something to which we can’t even hold a candle to. We, as human beings, are just a small element in the overarching sweep of narrative history. That really had a profound effect on me, that realization.
‘Jekyll and Hyde’ I read in high school. I was expecting a Hollywood-type horror story and couldn’t believe it when I got this very complex narrative from all these different points of view.
It’s really important for me to have a record which has a strong narrative feel to it.
The ‘Grace of Kings’ isn’t a narrative about a return to some golden age, to a lost status quo ante. It portrays a dynamic world in transition, where the redistribution of power is messy, morally ambivalent, and only lurches toward more justice.
Narrative cinema is just an imitation of life. Why would you prevent yourself and the audience of the same images, of the same that happened in real life?
Being outside is a loose theme on ‘Paracosm.’ Acoustic-sounding instruments have that warmth to them that is really important to communicate. It was really important for me to tell a story – my favorite records have a narrative feel.
The idea of having a narrative guiding the viewer through and grasping their attention is a really compelling thing.
The narrative that Peter Jackson has put into ‘The Battle of the Five Armies,’ it stands alone as a film. Rather than just finishing off the story, it’s like a whole new adventure all of its own. I’m very excited about it.
To speak of the Muslim world is not to endorse a totalitarian project, nor to bolster an Islamist narrative, nor to suggest that variety, plurality, and diversity are lacking in what Muslims think, believe, speak, and do as Muslims.
I don’t know if it’s good or bad, but when I first started writing I imitated the narrative thrust of a movie. And as I worked, I learned what you can do in fiction that you can’t do in movies, and vice-versa.
The narrative often from Democrats and the media is that Republicans don’t think the Russians have meddled in our election. They did.
The old handbook on writing is ‘Write what you know.’ I come from an autobiographical starting place almost all of the time, but it would be a mistake to presume that I’m not using fiction to extend the narrative.
The kinds of games I’m most interested in are narrative games.
There is a stigma attached to community colleges, and we do need to change the narrative.
A lot of artists I like end up being queer. Or maybe it’s a subconscious thing that you can identify of, like, ‘Oh this person understands the nuances of the romantic narrative of a queer person, or the social narrative of a queer person.’ And then you discover, lo and behold that they are a queer person.
For me, it’s always about using my platform to give people an alternative narrative, because we all need to upgrade our mindsets.
The resilience of narrative storytelling and people’s love affair with television is impressive.
You can get away with making some extremely bold statements by Trojan Horsing them into a narrative via comedy.
I think when you go in, with film or television, you want to tell this narrative. And with ‘Joshy,’ you want it to be grounded with moments – it’s not like, ‘Everyone be as funny as you can, quickly, at all times!’ It’s not like that. You have to pick the right improvisers.
Indian Prime Minister Narendra Modi turned the narrative around on demonetisation very quickly by promoting the move as one way of ending systemic corruption in the country.
With ‘All Is Song,’ I tried to construct a very traditional narrative that pulls no tricks.
The most compelling narrative, expressed in sentences with which I have no chemical reaction, or an adverse one, leaves me cold.
The best films of any kind, narrative or documentary, provoke questions.
I know what the narrative is on me. It’s because I come from money and I have a swagger and confidence about me.
As a film composer I deal with short bursts of musical ideas that are defined to a large extent by what’s happening on the screen, by not only narrative and action, but staying out of the way of dialogue, sound effects.
The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it’s how the narrative is constructed and directed that hopefully does it.
Instead, I was interested in what I guess I could call narrative indeterminacy, in questioning the apparent, taken-for-granted authority of any particular representation of the events in question.
My view of an excellent novel was probably set in the golden age of fiction in the 19th century: narrative, character and voice are of equal importance.
It’s so easy just to see the one-to-one narrative between presence and non-presence.
One’s teachers all belonged to that generation who were imperialists, and the whole narrative throughout my adolescence was of countries leaving the empire. I find it extraordinary that this purpose which drove how we viewed the world is now considered to be something that has no effect upon us.
Through the potent example of his own life, President Obama enabled us to believe the best about America, and, therefore, about ourselves. That uplifting narrative – essentially equating the promise of America with his extraordinary life story – swept candidate Obama into the presidency.
I knew I wanted to write about a nanny, but it was difficult for me to find a narrative rhythm.
