Quotes About Storytelling

If you're a writer, you know there are ways in which we don't know what we're doing at all. We're working out mysteries in a sort of poetic realm, and hoping that if a story is honest, if you're dragging the deep truth out of yourself, then something good and profound might come out of it.

I feel the way I always do about sequels. If there's an idea that excites me enough, and it feels like a way to do something new and fresh, then great. But I don't ever want to do a sequel just for the sake of doing a sequel.

I feel like the story me and Ronda can tell one day will be so awesome, and I think we have something special here. I think that it's going to be an honor and a privilege to work in the ring with her. That's the biggest compliment, is that Ronda Rousey - she's done a lot in her life. She's accomplished a lot.

We began in indies, and maybe we'll make another smaller film again sometime.

In a way, 'Sin City's designed to be paced somewhere between an American comic book and Japanese manga. Working in black and white, I realized that the eye is less patient, and you have to make your point, and sometimes repeat it. Slowing things down is harder in black and white, because there isn't as much for the eye to enjoy.

My books come to me in images, and sometimes the image is at the beginning of the book, and sometimes it's simply a flash somewhere in the middle.

I simply don't understand authors that know everything before they write it; it seems so cold blooded. I think it's lovely when the story takes over and goes somewhere else.

The Orpheus myth is my favorite myth, and the prodigal son is my favorite parable.

A few years after my first son was born, he wanted to know how we chose his name, so I began reading him the story of Noah's Ark.

We got to see Sondheim shows, 'Phantom of the Opera,' 'Cats' and all sorts of stuff. When you're 10 or 11 years old, it's just magnificent. The story-telling, the music - it lifts you out of your seat.

What makes film music different is that we are always given a situation and we make the song accordingly.

The kind of films I do and I've done don't have song and dance sequences.

The moment any film has song and dance sequences - where any time any character can start singing and dancing without any explanation - it can turn into a senseless film.

'The Graduate' must be the best use of songs ever in a movie; it adds a layer to the movie you wouldn't ever get from a score.

I loved hard-rock bands, and I loved songwriters who told stories.

I love watching movies, and I'm very inspired by movies when it comes to songwriting!

Songwriting is telling short stories. But instead of 15 to 20 pages, it's three to five minutes.

I see artists as the first responders. And when the proverbial crap hits the fan, we are there to be of service, to tell the story, to bring a balm, to soothe, to provide catharsis. You know, not to make our work any more important or less important, but just that there is a great importance to it.

It can certainly happen that characters in more sophisticated stories can 'take over' as they develop and change the author's original ideas. Well, it certainly happens to me at times.

I've seen every episode of 'Sopranos.'

Well the country songs themselves are three-chord stories, ballads which are mostly sad. If you are already feeling sorry for yourself when you listen to them they will take you to an even sadder place.

My first customer is myself. When I tell a story I like, I can sleep easy. I'm sorry when audiences don't like it, but I have no choice.

I think I felt very alone for a lot of my life, but once I was able to share my story more and more, and people wouldn't say, 'Hey, I felt sorry for you,' but, 'I get it, and I understand you,' it kind of encouraged me to tell it more. I just don't want people to feel alone.

If I'm making everyone wait, which happens... at least charm it on a bit. Go, 'Oh I'm so sorry I'm late.' Make up something.