Quotes About Storytelling

I believe that stories find writers, writers don't find stories. With the 'Pendragon' series, I actually had multiple story ideas and decided that instead of writing them individually, I would create a character whose journey would thread them all together.

The way we work at Pixar is we write the script, but then we quickly move on into story reel, which is basically like a comic-book version of the film. And then we do our own dialogue and music and sound effects, all in an effort to be able to basically sit in the theater and watch the movie before we shoot it, essentially.

I think that what we were doing with the live musical version of 'Shrek' was taking the ideas and the structure of the movie and not necessarily reinventing it but reimagining it. It is a very different medium to perform.

There's always a version of me who is the narrator. And I make myself look better than other people.

Being a novelist is the adult version of a kid creating a make-believe world. But unlike a child, a writer of fiction has to come up with a structured story, one that has as much meaning for others as it has for her.

In Haiti, as I understand it, storytelling and history itself are not a business of necessarily elucidating facts or the truth of an incident, but finding the version that is most entertaining and therefore will get retold and live in immortality.

Once you buy into a television show, there doesn't have to be resolution from week to week. You can develop characters and storylines and react to the audience, so you get more of a serialized version of storytelling where you can go much deeper into each character. It's more like a novel.

When you read something, it's a movie in your mind and such a personal experience. What we're trying to do is to bring a consensus version of that to life and make as many people happy as we can.

I only write about stuff that sort of happens to me, and then I blow it up into a much funnier version.

I love 'Peter Pan' to death. It's one of the most influential pieces of storytelling in my life. It made a huge impact on how I grew up. I love the cartoon. I love the 2003 version.

The only obligation you have as a film-maker is to tell your version of the truth and to use your film to illuminate reality. Whatever that means.

There is very much a sense of different versions of storytelling within our 'Camelot' - who tells those stories, who creates them, who shifts them.

I love picture books - with picture books, you can use words and pictures as a double act, even tell two different versions of a story at the same time.

For 'Frost/Nixon,' everyone I spoke to told the story their way. Even people in the room tell different versions. There's no one truth about what happened in those interviews, so I feel very relaxed about bringing my imagination to the piece. God knows everyone else has.

'Love, Simon' is incredibly dope, but that's one specific experience, and I would love to see more versions of that story being told or other stories that we haven't even seen yet from the LGBTQIA community.

People always ask why I stay in the online space versus going to TV or film, like most people would do, and the answer is that there's opportunity for innovation online - not only innovation in storytelling, but also innovation in how you interact with your audience and that is very fulfilling to me personally.

What I love about what I get to do is that I'm allowed to create the stories that I want to tell with minimal interference by some very big corporations like Microsoft and Sprint and EA and BioWare. The advantage that these tech companies have is that they understand the space organically, versus traditional media companies.

To me, cinema is not a movie or a TV screen, and it's not a seat in a building versus one in your living room. It's the art of motion pictures.

The stories that I want to tell, especially as a director, don't necessarily have a perfect ending because, the older you get, the more you appreciate a good day versus a happy ending. You understand that life continues on the next day; the reality of things is what happens tomorrow.

One of the things that I've always appreciated about the 'X-Men' style of storytelling versus other Marvel stories is how fluid the line between good and bad and right and wrong is.

The thrill of doing television versus features is, in television, you get to focus more on the characters.

The first big long-form work I did in comics was 'Scalped' for Vertigo, which ran for 60 issues.

We hate it when movies, right off the bat, tell you who this character is, where they're from, why they are the way they are. Even 'Vertigo,' one of the greatest movies ever made, starts off by explaining why Jimmy Stewart has this fear of heights.

Money is the probably the most successful story ever told. It has no objective value... but then you have these master storytellers: the big bankers, the finance ministers... and they come, and they tell a very convincing story.