Quotes About Narrative

The film's dramatic requirements should always take precedence over the mere aesthetics of editing.

Every change of scene requires new expositions, descriptions, explanations.

I always tend to think, even in residential projects, about what a space is being asked to do - where is it located, what are the circumstances, where can I attack the problem, so to speak. How can you create a narrative for people moving through it? How can you convey its character?

When sex is necessary for the plot of a book, or a character development, then I don't shy away from it. Why should I?

I don't shy from controversy. I'm telling stories, and I'll tell whatever story seems like it wants to be told.

I am, to be quite honest, sick of hero stories.

When you learn about stories in school, you get it backward. You start to think 'Oh, the reason these things are in stories is because a book said I need to put these things in there.' You need a death, as my husband says, and you need a little sidekick with a saying like 'Skivel-dee-doo!'

I'm proud of 'Black Hawk Down' because I think it told a provocative story and it was honest. It could have had more opportunity to tell both sides of the story, but I'm still proud of it.

A good story, a story resonant and remarkable, can be remade endlessly to tell new sides of itself for new generations of readers.

There are two sides to every story, and sometimes three, four, and five.

I think it's a lot easier to tell a war story about two sides of a conflict with one another as opposed to one side in conflict with itself.

There is kind of this spirit in journalism to tell both sides of the story and to just let the listeners choose what they want to choose, and I understand that, and there's a place for it, but on some issues, we really do need to take a stand.

I feel like I have this really cool journey that I get to show all these different sides to Carmella.

Afghanistan's story, backwards or sideways, is not confined to the Americans or the English.

The best of all kinds of movies are character-driven, and I definitely don't want to lose sight of why Derek and I started to write movies together in the first place.

I totally accept that it's a legitimate criticism that when you are involved in the day-to-day scrum of government... that what can get lost is the narrative, the hymn sheet... the song that inspires and lifts people's sights.

I sign a film based on the story, the role I play, and the maker.

I'm pretty ruthless about that; I think when you sign over your story, you sign over your story.

To be a Christian means you become a part of the most significant story the world has ever heard. You don't become part of that without an ongoing questioning of what it means to become part of that.

I have played bad-guy roles, but they were significant to the story.

There's this constant narrative of anxieties: Is the U.S. in decline? Is China rising? People forget... no other country is trying to play the role we play. They're not signing up to be responsible for security in the Middle East, responsible for the global economy, responsible for enforcing international norms.

The silence was part of the story I wanted to tell.

Every woman must own her story; otherwise we are all part of the silence.

Just telling a story. That's cinema. It's not silent, black and white. It's a simple story that's well made.