Quotes About Storytelling

Shouldn't you be able to tell your stories from your point of view? We're dealing with that with 'Looking' where some queers are like, 'These guys are so boring! They don't represent me!' But no show can represent everything, so is it OK for us, in 'Looking,' to write about these three men and their world?

Especially in the first 10-15 years, your regular resume is not an authentic representation of you - you don't really have that many notches on your belt, so to speak. In a super-competitive job environment, you need to be able to tell a multi-dimensional story about who you are as a person.

On the sets of the movie 'Manto,' I found that one of the challenges of embodying real-life stories is the mixed medium of facts and imagination, and how one's collage of experiences colour ones representation on celluloid.

Cinema is a larger-than-life representation. I wish to bring it to the small-screen.

'Scalped' is representative of the kinds of stories I like to read and I like to watch.

With novels, you're representing things. You're not explaining.

We all have to contribute in any way we can to telling stories that include everyone; that's our jobs, to speak out and make sure we're representing people.

I've never seen anyone say, 'Let's go get this person today; let's really ram it into him.' I've never seen it. If a Democrat or Republican commits some horrendous story, the story will run. The networks will cover it.

I'm a biographer; I can live with a little hyperbole.

Film is the medium for communicating not just ideas, but things of the heart.

I can really identify with the content that I read in comics.

My academic identity is that of a folklorist, and for many years I have taught only folklore courses.

Do I exaggerate? Boy, do I, and I'd do it more if I could get away with it.

I've always felt in my own small, little way that if I could just write a story where it works out well, where the scales of justice are balanced, then that's something that I do really love to see in the world.

One never wants to do anything that's going to break that 'sculpture of the character' that's been done so far, or make anything that's been done so far become illogical in any way, so you always want to try to connect when you're doing a series of films that has a continuous character.

I believe that a good comic script can succeed despite being drawn badly, but that a bad script can't be saved by good art. Of course, great writing and great illustration makes for a great comic 100 percent of the time.

Once I have the story in my head, I write it down. The illustrations usually come last.

As the years went by I became a writer and illustrator, although exclusively of fantasies.

When working on a period, it is the finer details that evoke imagery that helps in cinematic adaptations.

People have asked me a lot, 'What comes first? The pictures or the story? The story or the picture?' It's hard to describe because often they seem to come at the same time. I'm seeing images while I'm thinking of the story.

I grew up in a world where stories and images were made and told by men. So I know this world very well. I am moved by this world.

For me, nudity and strong language have never been huge loadbearing elements of how I like to tell a story. Graphic images certainly are.

I love telling stories with images. But I think there's more to just saying a movie is great visually.

I'm always building images. Even when I go out and put a look together, it's in my head the whole day, like, how I'm going to create this whole story. But I'm never satisfied; it's always a work in progress no matter what. Every day is working.