Quotes About Storytelling

There's always the pressure on the director of how to transition from one scene to another, especially when it can really be oblique on 'Game of Thrones.'

The key to making good movies is to pay attention to the transition between scenes.

It's almost like these games are the modern day comic books, especially when you play Alone in the Dark. There's a real story that goes along with it and a movie seemed like the right kind of transition to make.

I started as a journalist for magazines in New York City, so it was always storytelling. And moving into movies was a natural transition.

Designers want their clothes and their shows to be absolutely perfect, exactly as they imagined, and there is a great deal of work that goes into doing that. Some collections can tell a whole story, from the first look to the last. The way the colors and the clothes transition is very interesting.

I will say that comic books are not the easiest things to translate to film, number one. Even the most well meaning of filmmakers find what's acceptable on the printed page is very difficult to bring to film.

I'm not standing above the audience trying to manipulate them as a puppet master or a trickster; I'm inside the story I'm writing and making and thinking about things very seriously and feeling very deeply at times, and trying to translate that into a narrative.

The ballet needs to tell its own story in such a way it can be received without having to be translated into language.

I've done a lot of ad films where an idea can be translated in 30 or 40 seconds. But in a movie, an idea needs to be stretched for two hours, and requires you to draw a bit from your experiences in life.

Translation and UnitedMasters, which is all one company, is my vision and my dream, and I think it's today's reality of the convergence between storytelling, technology, and culture.

Not only do I lie, I take real pleasure in lying, in the transmission of magic effects.

Media is extraordinarily important and is an extraordinarily powerful tool. There's a reason that the first things that a rebellion or revolt will take is the media. The story you transmit is the story that becomes a given, or the narrative of a country and people.

I don't like that feeling of holding back difficult questions. I feel like the more I can be transparent in the way I approach a story, the more it makes a satisfying programme.

I've been interested in writing and storytelling since I learned to read, but it wasn't until I read Dylan Thomas, when I was 14, that I became interested in language itself, and saw it as more than a transparent medium for a story.

'Transparent' was huge for me when I first saw it. I felt that, from an authorial point of view, no one was trying to sell characters to us, you know? It's the idea of not having to adore these characters and want to cuddle them; you just have to be into them and their psychology and be compelled by them.

I'm drawn to filmmaking that can transport me. Film can immerse you, put you there.

Hell, you can't smell nobody's breath through a camera. You almost can't even see their pimples. So you know that TV shit ain't real. Don't run ahead of me. Let me take my time and tell my story.

The storyteller has the power to make people feel good or bad about themselves. The storyteller has the

And now, if you have anything more to ask, I can't think how you can manage it, for I've never heard anyone tell more of the story of the world. Make what use of it you can.

ObÅ'Ä™d i szaÅ', rozczarowanie i ?al, SiÄ…d? tu, a opowiem tobie o mÄ™ce tÄ™sknoty I zdwojonym bólu.

What went on in that tower was excruciatingly painful. Wilmer Stone read our stories to us in a monotone as if he were reading from the pages of a phone directory. What we learned with each stab of pain was that the words themselves and not the inflections supplied by the reader had to carry the emotion of the story.

Wilmer Stone read our stories to us in a monotone as if he were reading from the pages of a phone directory. What we learned with each stab of pain was that the words themselves and not the inflections supplied by the reader had to carry the emotion of the story.

All of these early exposures to offstage happenings contribute to the belief that stories are told. They can be a liability to writers later in life because the writer has to change his mind-set from telling what happened somewhere else to creating an experience for the reader by showing what happened. Twentieth

It is the job of art to replace unhappy true stories with happier inventions.