Quotes About Narrative

You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.

I become my characters, and then try to allow events in the story to take their own course. I try not to play God, but to let them work out their own destiny.

We think that we know people from this constellation of points: 'I know that story. I know that girl. I've heard that story a thousand times.' But actually, you never know that story.

In December 2011, I will be opening up my production house, Sharmeen Obaid Films, and aspire to change the way Pakistanis approach nonfiction storytelling. There are thousands of stories to be found here.

First, I would find an object which I would think is suitable for my characters and stories, then write about it, and in the end, I ended up with a house full of thousands of objects.

For thousands of years, humans have used the art of storytelling to motivate and persuade.

For thousands of years, men have written history, so it seems to me that most of what we've read is from the male point of view.

We construct a narrative for ourselves, and that's the thread that we follow from one day to the next. People who disintegrate as personalities are the ones who lose that thread.

Every movie that I do, if you analyze the stories, you can notice that in each story, that within the movie after the first 15 minutes, it could fall apart. Or every 10 minutes it has the chance that you lose the thread. On the other hand, if you succeed in putting them together, then the movie looks spontaneous and more like cinema.

It was really fun to start writing movies because you could actually take characters whose voice you enjoy writing in and have actual things happen to them for more than five minutes. It was really fun to thread it together.

Normally my films have a single thread of an emotion, an insight or one single belief, and then I turn the entire story and build it around that.

The hard left labels anyone who challenges it 'divisive.' The leftists live in a world where everyone is free to look different but must think the same. I don't play their game. I threaten them and their narrative. That's why they slap the 'divisive' label and attempt to dismiss me. It's not going to work - not on me.

So many people had been asking me to write an autobiography, or threatening to write my biography without any input from me, that I thought I'd better tell my story before other people told it for me.

I don't mean to minimize Russia. They are a serious national security threat, but day in, day out, the threats that we face from China are significantly greater. Anyone who says otherwise is just politicizing intelligence for their own narrative.

It's not the one-half that's never been told; it's the three-quarters.

The excitement of wading into 'reality' and just finding out what happens - and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging - is a great, great thrill.

The thriller is not a recent invention. It probably goes back to the dawn of storytelling.

The first thriller ever? It was probably one from 1697. It was called 'Little Red Riding Hood.'

I don't really look for a script and go, 'I need to do a thriller, so I'm going to do this.' I just read scripts and look for the best possible story.

I think female-centric films shouldn't be only about thriller or horror. Angelina Jolie has been doing all kinds of stuff.

I wouldn't apply high frame rates to a love story or a thriller or a film noir or a mystery.

After doing two feature films, I got an idea for a thriller film and felt this could be made without any dialogues.

The bottom line: if you want a happier family, create, refine and retell the story of your family's positive moments and your ability to bounce back from the difficult ones. That act alone may increase the odds that your family will thrive for many generations to come.

We learn that our lives find narrative form neither in the tired, familiar slogans of our captains nor in the symmetries of ideological camps, but in the differences that thrive behind settled, more clear-cut divisions.