By tracing the careers of the four members of the Philosophical Breakfast Club, Laura Snyder has found a wonderful way not just to tell the great stories of 19th-century science, but to bring them vividly to life.
It's the responsibility of the survivor to tell the story.
Television's grown up a lot. It's a little more adult, which I think is a good thing. It allows actors to tell more complex stories. I'm happy to see where it ends up.
My favorite movies are love stories.
First I think I was interested in the stories, and later on, I became more interested in the language itself, so the stories became almost secondary, but it was kind of a background music for my life.
The human race has always defined itself through narration. That isn't going to change just because we've gone electronic. What is changing is that now we're allowing corporations to tell our stories for us.
There are stories still in existence that I wrote when I was five. However, I did not get published until I was seven.
Don't have too much story for the time you have.
Let's not pretend there isn't a huge industry driven by the choices made by editors and writers who decide what a story is.
I always wanted to do a Hollywood story. The thing about actors, though, is that they go through a streak of roles. The question is, what's in between?
The loss of the culture is one of the main reasons Ciro Guerra wanted to tell their story.
I do not over-intellectualise the production process. I try to keep it simple: Tell the damned story.
To create anything — whether a short story or a magazine profile or a film or a sitcom — is to believe, if only momentarily, you are capable of magic. These essays are about that magic — which is sometimes perilous, sometimes infectious, sometimes fragile, sometimes failed, sometimes infuriating, sometimes triumphant, and sometimes tragic. I went up there. I wrote. I tried to see.
I had written about a small hamlet upstate, and had been called into a meeting about my story, which, as it turned out, had upset a lot of people.
I think the voice can carry a story.
Fiction is about feeling, which is to say that short stories are about all of us.
These are the stories of travelers on a spiritual quest between worlds. Part mythmaker, part poet, Omar Castaeda is an original, and these stories are unlike any in our literature.
One thing I want to say: I don't like victim stories and I don't write them.
You want to tell a great story. You want these characters to become part of people's lives. And then, hopefully, that generates discussion.
We, as producers, want to tell the best stories. We want to tell the stories that people will talk about.
In male-driven [films], the protagonist is not the person who's necessarily in harms way. There's a sense that they're going to figure out how to persevere and take on the obstacles and foes and you don't necessarily know if that's going to happen with the subjects of love stories.
The graphic novel? I love comics and so, yes. I don't think we talked about that. We weren't influenced necessarily by graphic novels but we certainly, once the screenplay was done, we talked about the idea that you could continue, you could tell back story, you could do things in sort of a graphic novel world just because we kind of like that world.
There is a shortage of hard R. It was the story and the character. He's never played a character like this and so that was the thing that really won him over. The story itself, on the surface - Patrick and I love actors almost in a geeky kind of way.
I would've never done a 1970's road movie. It just wouldn't have occurred to me. So when he started talking about it he brought up all these movies and he'll do that with you guys and you'll feel the Goosebumps as you start realizing the story that he wanted to tell.
We really did it write it for the story but once you get into production, once you start doing this process certain things will jump out at you. Some shots will be more 3-D than others.
