Quotes About Storytelling

I'm a huge fan of 'Buffy,' 'Angel' and 'Doctor Who.' People like Joss Whedon, Russell T. Davies, and Steven Moffat are really amazing about making you feel like you had a complete meal and yet leaving you hungry for more.

Steven Spielberg films were huge touchstones for us growing up.

Beyonce, Stevie Nicks, Ani DiFranco, Cardi B - Women tell awesome stories.

With fiction, you can do whatever you want to, but if you are making a film on someone, you have to stick to the truth. You cannot just say that I will change the climax because I do not like it.

It is gorgeously shot, and Andrew believes that the old school way of making films in the best way. Meaning: you have a story, and you stick to the story. You don't change and alter the story because of people who've invested in it and what to put product in a shot.

There's no one out there like Quentin Tarantino. His films have a signature look, and they never just stick to the same kind of story.

I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.

I've always been into 'fast-paced, don't bore 'em, keep it moving along, stick with the story.' You know: tell a story the way I want to hear a story. I find it more rewarding to write for kids, but I also find it a little easier, because you can just let loose a little bit more in terms of fantasy and stuff.

I started out as a novelist, and I think novels have gotten a little stiff, a little repetitive, and the energy in comics was much more appealing.

Every picture has its own demands, and every picture stimulates something within you to tell it a certain way. I don't know what that is; I don't think too much about that.

I want to make all kinds of movies. I do want to make big movies that are a lot of fun to go to, but I also want to make movies that are going to stimulate some thought and maybe raise some awareness.

Ryan is my bridge to the past, to memories that lose some of their sting when he recounts them.

It's much more interesting for me to think that taking a chunk of experience and mushing it up together with other things that are inventible, remembered from some other time or stolen from other people's stories... and see if I can make it into something that works, an object, a little machine that runs.

I'm someone who loses 80 to 90 percent of the time. Even when I lost, I put my body on the line and I told the best story. If I stood out, if my attitude towards fighting was different, I found a way to stay around and keep revamping myself and my character.

I didn't want to just do a show where my character stood out and other characters were flat or one-to-two-dimensional. I wanted everybody to have meat.

Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.'

'Dark Blue' was a really solid show, and it stopped at season two.

I kept starting 'Anansi Boys' as a movie and stopping, and eventually wrote the novel and was happy.

I've still got my characters in my head, and I can still hear them. When I go to the grocery store, I hear them.

I was doing a show at the Comedy Store which Eddie Izzard saw, and we chatted for a bit afterwards. I didn't really know he was; we just hung out as comedians together, and when he heard my story, he said, 'Why don't you tell that on stage?' I didn't really want to burden people with all that, but he said that I could have fun with it.

I store away my experiences and don't feel really happy until I've found a way to write about them.

The deal is such that when I begin writing something, I open a door, and those characters come in, and then they won't leave, and so I live with them every day, all day. They are there with me when I'm driving my kids to school, when I'm standing in line at the grocery store.

Ideas come from life: what happens in mine, what I see happening in others', mixed with a great deal of imagination. I might see a person in a grocery store and build a whole character and life out of what's in her basket.

I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.