My process is thinking, thinking and thinking - thinking about my stories for a long time.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
The opera tells the story with all the built-in contradictions and from many different angles.
Tell the truth and read story books;it will take you to the magical moment in a glory night.
And I like being able to go back and forth, and I don't really care if it's a small budget or big budget or studio or independent, as long as it's got a story that's compelling and there's enough money to make the picture.
I feel like my music is just an extension of my acting. I treat the songs like scenes that tell a story... it's very similar.
My job is to find the stories, find where to go, do the research, do the logistics, be there on location, and do as much as possible to get the footage that we need to make an incredible film.
We drew our inspiration from everyday stories.
Too many times, people are hearing the story from the second floor. Nobody's heard the story from the basement.
My greatest debt will always be to the movie-going public of yesterday and today, without whose love and devotion I would have had no story to tell.
I want us to organize, to tell the personal stories that create empathy, which is the most revolutionary emotion.
But when you get to a song, not only do you have to do a vocal melody, you have to write words and not be redundant and make some semblance of a story
It's human to hear stories and to know how people live and to imagine how that is for them. It's very interdependent!
Think of the funniest story from your life. Chances are, it was something awful at the time.
We grew out of the superhero comics, but we still liked comics, so we started putting our own experiences in the stories we were doing for our own amusement.
The biggest stories in 2005 were the national disasters
I had these cheap alien toys and I made up stories for them. They were space pirates. They didn’t have names so I made up names. These were the first stories I wrote. Even as a little kid I was thinking about torture.
No one has the right to judge you, because no one really knows what you have been through. They might have heard the stories, but they didn't feel what you felt in your heart.
In terms of stories I would buy for a science fiction magazine, if they take place in the future, that might do it.
The future depicted in a good SF story ought to be in fact possible, or at least plausible. That means that the writer should be able to convince the reader (and himself) that the wonders he is describing really can come true... and that gets tricky when you take a good, hard look at the world around you.
I used to think, 'How can I write my life story? I'm still living it.
I think a story should take as long to tell as it is appropriate to that particular story.
I have always credited the writer of the original material above the title: Mario Puzo's The Godfather, Bram Stoker's Dracula, or John Grisham's The Rainmaker. I felt that I didn't have the right to Francis Coppola's anything unless I had written the story and the screenplay.
I think a sequel is a waste of money and time. I think movies should illuminate new stories.
Each of us has a family tree full of stories inside of us, Dirk thought. Each of us has a story blossoming out of us.
