Quotes About Storytelling

If I watch 'Gone With the Wind,' I always find it interesting. I think, 'What's going to happen next? What's that character going to do?' But you know, you never really need to watch the films you made again. They stay inside you, always with you.

Whether it's 'Fish' or 'Annabel Scheme' or 'The Truth About the East Wind,' I often find myself crafting custom containers to hold the kind of content I want to create.

I think that storytelling, at its essence, allows us to feel like we all suffer the same insanity or a similar insanity of existence: that nobody escapes scot-free. We're all going to wind up - at the best-case scenario - 80, 85, 90, broken, in pain, and feeling like it was all a dream and not really understanding the point of any of it.

Filmmaking, whatever the window dressing or the scale of a film may be, is eventually about telling a story.

Everything you've ever read of mine is first-draft. This is one of the peculiarities of the comics field. By the time you're working on chapter three of your masterwork, chapter one is already in print. You can't go back and suddenly decide to make this character a woman, or have this one fall out of a window.

I vividly remember my sixth-grade classroom. I remember what it smelled like, where I sat, what I could see out the window, and how I felt about things. Peel away my decrepit middle-aged exterior, and an important part of me is still twelve years old. It helps me when I sit down to write stories for kids.

When actors are the real deal, all that star whatever goes right out the window and you're there to tell a story.

I feel like my job as a storyteller and director is to create an experience where the audience forgets they're in a cinema and can get lost in the story. Things popping out of the screen call attention to the artifice of what you're doing, so I use 3D as more of a window into a world behind the screen.

I definitely remember doing 'The Alamo' with John Wayne and Lawrence Harvey and Linda Cristal. We'd work six days a week, and then John Wayne would invite us down to a little place in Texas called Del Rio, and we would break bread and have some wine and tell stories.

I can write, He floated up to the ceiling, and a baby rabbit came out of his pocket, grew wings, and flew away. And you will believe that it really happened. That's magic, isn't it?

The biggest mistake you can make is assuming that creativity will hit you all at once and the muse will carry you to the end of the book on feather wings while 'Foster the People' plays gently in the background. Storytelling is work. Pleasurable work, usually, but it is work.

I don't really mind not being a part of a film - because if there is no part for me, I will never force myself upon a film. I feel like it's just a distraction. If it is not organically incorporated into the story, it just feels like a stupid appearance, like a sort of wink. I hate that.

Bill Condon, I must say, may have been one of the best professional experiences of my life, collaborating with him. He, himself, is an Academy Award winning screenwriter. He is a storyteller first and foremost, so we speak the same language. We approach things always from the story.

I never think of an entire book at once. I always just start with a very small idea. In 'Holes,' I just began with the setting; a juvenile correctional facility located in the Texas desert. Then I slowly make up the story, and rewrite it several times, and each time I rewrite it, I get new ideas, and change the old ideas around.

Then one day I thought it would be wonderful to make a whole book, to make my text and my drawings together, and that's how I started doing children's books.

More than conventional picture books, the notebook format allows me to leap from words to images, and this free-flowing back-and-forth inspires my best work. It reflects the way I think - sometimes visually, sometimes verbally - with the pictures not there just to illustrate the text but to replace it, to tell their own story.

You get to crack the code of the play. You get to really pick at it and see, 'What is the story that we're telling?' 'What are the clues in the text that I can find that will help inform what story we're telling?' It's almost like a detective mystery.

The silent movie is an emotional cinema: it's sensory; the fact that you don't go through a text brings you back to a basic way of telling a story predicated on the feelings you have created.

You can read a dozen different textbooks or how-to manuals that will tell you the basic rules of what makes a story - a beginning, a middle, and an end.

Objects let you tell a narrative that encompasses everybody. Texts don't.

'Just looking at pictures' used to be considered cheating. No longer. The graphic novel is booming. Comics, heavily illustrated texts, books with no words are now accepted as reading.

Why aren't there films being made that tell ethnically diverse stories? Or why is it so impossible to allow a person of color to add their texture and their essence to a role that is not ethnically specific? I don't know why it's a novel or risky idea to consider making a film look like how our world actually looks today.

A good story, just like a good sentence, does more than one job at once. That's what literature is: a story that does more than tell a story, a story that manages to reflect in some way the multilayered texture of life itself.

My fiction-writing DNA shows in how I think about prose, how I think about the page, how I think nonfiction stories should work. And every piece of nonfiction I write, I want it to have fictional texture.