Quotes About Narrative

In documentaries, the process is that you film a lot of things, and out of what you've shot, something organically reveals itself, and there's a discovery process.

A lot of things that I write about have happened to people around me, if not necessarily to me or in the organizations I've worked in. Having said that, it's fiction and has a lot to do with my imagination and creativity.

Fiction is organized gossip.

The fun thing about doing origin stories is you are introducing the audience to characters.

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

I didn't try to cry my way out of Orlando. That was never my intention, or not what I did at all. And I understand everybody thought it was that way because of what was being put out there.

There's something really unique about 'Orphan Black' is that it has a lot of female leads, so it's about a lot of women's stories, but it's not women's stories in terms of trying to find a guy or keep a guy; it's about entirely other things.

Films have to find a way to compress many anecdotes into one, or many events into one. Otherwise there is no way to tell it in two and a half hours.

I'm interested in telling the character's story, not my beliefs, political or otherwise.

I look at the story, I look at the idea and just try to think of it in terms of that whole body of myth and see where the characters fit in and what they ought to be doing-all those archetypes are there to play with.

I never really understood the idea that nonfiction ought to be this dispensary of data that we have at the moment.

From the time we open our eyes, we live in a Steadicam form, and the only editing is when we talk about our lives or remember things.

The epic implications of being human end in more than this: We start our lives as if they were momentous stories, with a beginning, a middle and an appropriate end, only to find that they are mostly middles.

We breathe, we think, we conceive of our lives as narratives.

The first movie was mostly about George and Julia. This one is mostly about me and Catherine and our love story and our whole history. So it's a very different movie.

To call the coronavirus a great equaliser turned out to be the greatest falsification of our time.

It's a really important thing for Aboriginal people to remember how stories are told and the power of stories, and make it an important feature in our world again.

I think we all see ourselves as the heroes in our own lives.

I really only take roles that I love and that I have some kind of innate compulsion or need to tell that story. Although it's almost like I have no control over it. It's like they choose me.

You can tell a more over-the-top incredible story if you use a nonfiction form.

Certainly as an actor, half of your work is not going to end up on the screen anyway, because in the editorial process, they need to cut to the other actor in the scene. Very often, your best work ends up on the cutting room floor, because it just doesn't work with the overall narrative drive of the story.

With a series, you build the character as you go. When you've got a shorter project or a film, you know the overall arc from the beginning.

The audience has a level of control, when you watch 'Invisible,' that nothing in 2D can give you. The overall climax of the series will work no matter how you get there, and the climax of each episode will work no matter how you get there, but no two viewings of an episode will ever be the same.

There are no war stories. I ended up a bombardier, but I never got overseas. And it wasn't because I was playing baseball either. It was just a series of things that went on.