Quotes About Narrative

I love doing television; it's such a brilliant way to tell a story over six hours rather over the two hours of doing a movie.

Bringing words to life, storyboards show you things that words can't.

The challenge of election broadcasting is to stick to the story and line.

I brought in the stories many times. I don't just do animation.

I was a semiotics major at Brown, and there's this idea that stories are better, books are better, and movies are better if they cocked you off your axis and you were completely disoriented and you'd really have to rethink everything. Nobody has that experience, actually.

The reason why I love people, and writing about them, is because they don't always respond with hate and anger. If they did I wouldn't have a story to tell. Who wants to know about someone who was brutalised and became brutal? I'm interested in the exceptions.

You can have a bunch of great actors in a film, but if you don't have anyone telling a great story, it's a moot point.

There's something really satisfying if you've created a bunch of characters that have withstood 25 episodes.

In the digital universe, our personal history and its sense of narrative is succeeded by our social networking profile - a snapshot of the current moment. The information itself - our social graph of friends and likes - is a product being sold to market researchers in order to better predict and guide our futures.

Part of success is having a good story, and as a journalist, I totally understand. But it meant that my many, many years of focus and hard work got kind of prepackaged into a Cinderella story. I'm super grateful that it happened, but it left me feeling like I never got to be a full human in the experience.

Box office success is pertinent but the story has to have a life beyond the two hours.

You're always in a blessed position if you have a great success story, especially to be in a position to be able to tell it so people can even understand.

If you can work a brand successfully into the narrative of your product, then it's really cool. Then people actually take the brand up and say, 'My positive experience in your product is directly connected and influenced by this brand and that worked great.'

Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.

Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.

My career has gone in such a way that I've gotten to learn that, when you're working with a great storyteller, you don't ask questions; you just trust them.

I've always been really attracted to playing with structure. To take the story of 'Fargo' and break it up in such a way that's it's not linear, per se.

I just have to trust that the story is going to shake out in such a way that's going to be palatable to readers.

It takes two guys to tell a story, paint a picture, so our audience can be entertained and brought into the match. You need to suck people in emotionally to a match, and it takes both parties to paint that picture.

Whether it's Brad Pitt up there, if there's a good moment up there, and you get pulled into the emotion, you're not thinking, 'Oh, that's Brad Pitt. He's an actor, and he's famous.' That's kind of the nature of storytelling, right? You sit around the fire and tell a story, and you can get sucked into that story.

I've read a lot of really great characters in some really crappy stories, where I said, like, 'Boy I could shine here, but the story sucks.' I don't want to be part of that.

There are a couple of strategies for writing about an absence or writing about a loss. One can create the person that was lost, develop the character of the fiancee. There's another strategy that one can employ, maybe riskier... Make the reader suffer the loss of the character in a more literal way.

Characters who don't suffer have no interest to me.

My name is Bruce Feiler, and I'm an explainaholic. I first heard this word used to describe Isaac Asimov, and I knew instantly that I suffered from the same condition. It's the incurable desire to tell, shape, share, occasionally exaggerate, often elongate, and inevitably bungle a good story.