Quotes About Narrative

If you look at the least effective of the 'Twilight' movies, it was when they brought in an action-movie director instead of a director who was really a good storyteller. And you can tell the difference.

'Twin Peaks' is a continuing story; that comes from David Lynch and myself.

'Twin Peaks' was incredibly slow, methodic, taking shots that were uncomfortably long, with a lot of scenes where there was barely any dialogue. 'Riverdale' has a much faster pace.

In the 'Buffy' room, it was never about a plot twist, ever. It was always about, 'Tell the story, tell the characters, complicate their lives, make things get worse,' but we never worked backwards from the plot, and it was always a great lesson.

I was reading stories by Raymond Carver and some of his stuff sort of ended abruptly here and there, where in other short stories that I've read have a bit of an ending, a climax, a twist or something like that.

The whole Haley-Nathan marriage deal was a pretty good twist huh? I hope we got all of you with it. That particular story line even suprised me when I read it, it's a good one and it'll provide for some good stories to come.

It's become very popular in contemporary films to have the twist ending.

It was great as an actor to be given the story line I was given but I didn't expect Craig to stay so it was a lovely twist when I found out they'd decided to keep him.

The narrative oftentimes is that everything that comes out of the hood is 'real,' and so I thought, 'I'll base it on the absurd, the not real. I'll twist the idea of real on its head and see if I can get away with it. I'll make paintings that come not from a place but through an abstract gaze.'

When you're telling taut, tight storytelling that has any kind of built-in plot twist elements, you tend to want to stack everything up on top of itself as opposed to letting things breathe and be languid in terms of the passage of time.

I would never, for the sake of the story or a twist, have a character do something that they just wouldn't do. I really couldn't. I'd rather miss out on the twist.

Every masculine hero narrative I could find I wanted to steal for myself and twist to my size.

All the dramas I admire most - 'Six Feet Under,' 'The Sopranos' - even when the scenes aren't laugh-out-loud funny, per se, there's a comic twist that gives the stories an energy.

This is what Hollywood tends to do. It tends to disregard tradition, history and anything factual, twisting it and turning it and making it all okay regardless of what the English may think of it.

I know a lot of actors who have said to me, 'who'd have thought you could put a two-shot on screen for twenty minutes and people would be absolutely locked in, how does that work?' Well it does work, when the story is great and you've got these fabulous twists and turns - so those are my favorite bits!

Normally, in a film with lots of twists and turns, half of them don't make sense; they're just there for their own sakes.

My writing has always been what you call 'narrative fiction' in the sense that it's got very strong plots and twists at the end.

I've always said I'm less interested in twists as I am about escalation.

When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.

Twitter is almost novelistic.

Today, when you look at social media, you see that the narrative can be overtaken by people just from Twitter and Instagram. I know when Ferguson was going down those first few nights, I was watching feeds on the ground on Twitter, not CNN.

Everybody has their good days and their bad days, there's always two sides to a story.

A short story is the shortest distance between two points; a novel is the scenic route.

Storytelling is about two things; it's about character and plot.