Quotes About Storytelling

Wrestling ultimately comes down to what happens when the bell rings, and it comes down to athleticism, storytelling, and characters - and what we're doing in 'Lucha Underground' is the highest-quality wrestling out there.

With 'Lucha Underground,' it's really tight, and you don't need to fast-forward. Everything you're watching is important and entertaining.

'Lucha Underground' is like a combination of Lucha Libre, American Pro Wrestling, and gridy action films. It's got a lot of things I like - action, wrestling, and really good storytelling.

The reason why I'm just 'Cage' in Lucha Underground instead of 'Brian Cage' is because DJ, the writer, Chris DeJoseph, we wanted to keep my name the same.

I like to write my shows coming up with the stupidest things I can think of then finding a way I can incorporate a running theme or an underlying message that takes a stupid idea and gives it something worth watching.

Film directing is really undermined if you attempt to do it by committee because there has to be a single vision as to how to tell a story. It's like if you were at a campfire, and everyone is taking turns to give one sentence in telling a horror story. It would be a mess - it's not going to make sense.

Whether you're writing a horror show or a James Bond film, I think what bubbles beneath is interesting characterization. The colors that emerge through storytelling is what a dramatist does. There's always got to be something bubbling underneath that will erupt at some point.

We could make the most beautiful film in the world, but if it doesn't have a heart beating underneath it, then no one's going to be interested.

Every great narrative is at least two narratives, if not more - the thing that is on the surface and then the things underneath which are invisible.

Basically, all novelists should want to tell a story, and if they don't want to, they shouldn't be novelists. I think story-telling is important and underrated.

'How to Survive a Plague' is history-telling at its best. It's a film I'll show my two children, now toddlers, when they are old enough to understand. It's a movie that I cannot forget.

I understand that I'm able to connect with people; I have an emotional bonding with people. My strength lies in my ability to tell stories and to touch people's hearts and to move them.

Event cinema is what it is, and I understand why it's successful. It started with things like 'Jaws,' which are extraordinary movies. But what we've lost are great character films which are beautifully directed and had great movie stars in them. Films that were about something rather than about spectacle.

As a filmmaker, it's not my intent to trigger or shape national discourse. My task is to make as powerful and understandable a film as I can. What happens next is what happens next.

A documentary film is a great way of helping people understand because, somehow, when one is able to see the people involved, it lends a certain immediacy and understanding that is hard to get on the page.

It is only in his music, which Americans are able to admire because a protective sentimentality limits their understanding of it, that the Negro in America has been able to tell his story.

This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.

Maybe our telling of the story wasn't as clear as it should have been, but I don't think that's true. In terms of understanding the story, it comes across.

I love it when you like a character, and then she does something you don't like, and you hate her for a while - then you love her again. I'd like to see her have unlikable moments that the audience understands and sympathizes with.

What I've learned is that everybody really wants to sell their story. No matter who they are, everybody feels that what they're doing is the right thing, and if they could only explain themselves to a reasonable person that understands them, then maybe they'll listen.

Teaming up for Evolution, I think Batista and I credit a lot of our success to Ric Flair, but especially Triple H. He has an amazing psychology for the business. He understands how to tell a story, and you just pick his brain the best you can while riding with him. It was a great advantage for us in terms of learning our craft.

So, 50 films, 3 National Awards, 74 plays and serials later, here I am playing Professor Das in JL50,' who understands time travel. When in reality, I'm not tech savvy at all.

Poetry doesn't necessarily need to be some erudite thing. Your mom telling you a story is just as much poetry as some old 17th century thing that no one really understands. I think that those boundaries should be broken down!

I'm a big believer in making sure that action is not confusing and the audience understands what the characters are up to and what they're doing.