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Storytelling Quotes

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Storytelling Quotes

“My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.”

“I think change is happening in ways we can't anticipate yet because the whole generation of viewers who are viewing films - film may not be the appropriate word in years to come. I'm excited about the possibility of new types of storytelling; that to me is less daunting. I'm excited by how we'll evolve with those formats thematically, tonally and in narrative.”

“The left hemisphere acts as an "interpreter," watching the actions and behaviors of the body and assigning a coherent narrative to these events. And the left hemisphere works this way even in normal, intact brains. Hidden programs drive actions, and the left hemisphere makes justifications. This idea of retrospective storytelling suggests that we come to know our own attitudes and emotions, at least partially, by inferring them from observations of our own behavior.”

“Graphic novels might really speak to one child who's struggling with the other kinds of reading and might help them discover that storytelling is joyful and personal and illuminating. They might find your way in auditorily by listening to audio books in the car instead of playing Game Boys or watching DVDs.”

“If you're writing a book where you want to make a positive truth claim, then you should absolutely call it nonfiction or memoir. If you don't want to make that claim - if that's not what's important to you; if you're more interested in storytelling and interiority and interpersonal relationships than in objective, checkable facts about the world - then why wouldn't you call it a novel, and take advantage of what that gets you, of the extra freedom, of belonging to the tradition of the novel?”

“That's just me wanting that supernatural tool to tell a story and also not wanting to be restricted by reality, with how we're telling a tale, because we are a heightened reality on Hannibal. There is a larger-than-life quality to the storytelling when it gets into particulars. I like the idea of being able to dismiss reality, depending on if we can sell it as part of the story.”

“The idea of suggesting that Hannibal Lecter - in the book, he has a sixth finger and red eyes, and so there is a devilry in Thomas Harris' presentation - so it felt like it was completely honest and appropriate for the character. And we often talk in the writers' room, "Okay, there is the Hannibal as the devil explanation of that plot point, but we also need to ground that in a reality that is answerable to the physics of the storytelling."”

“I think that the idea of boundaries is being challenged everywhere. And I think our fascination with sci-fi is that it is a boundary-less world where we can kind of create the reality that we believe to be as opposed to the reality that is. It is about the beyond and the unknown in a different way than pretty much any type of storytelling is.”

“I've been training like crazy with my trainer Decker Davis all the time, and we've been doing this new thing called Danger Train. It's kind of storytelling about the offseason training, there's a lot more to come with that. More than anything, from a nutrition aspect to the speed aspect to the strengthening aspect and, most importantly, to the mental aspect, we're always trying to grow exponentially. We're continuing to find new ways to do that.”

“I wanted to be an actor ever since I was five. My grandparents - my mom's parents in New York - were stage actors. I think indirectly I wanted to do it because of them. My grandfather would tell me stories about Tennessee Williams and actors he worked with in New York. He had such a respect for acting and such a love for storytelling about that world. I grew up hearing him tell tales of it.They were never encouraging me or discouraging me to take part. They were always feeding me with theater.”

“I love dealing with drama. I'm drawn to the painful side of storytelling, more so. I feel like that's where you get the most honesty from. My laughter comes from irony. You laugh at my pain. I can't look for the laugh 'cause I'll fall flat on my face. I like the type of laughter that comes from irony like, "Of course, it's sunny today when I wore a mink coat!" I'm that guy. I was raised on Benny Hill and The Odd Couple and The Honeymooners.”

“I love my work. What's more fun than playing with imagination? I also believe storytelling is the most powerful way people communicate with one another, interpret our lives, share our dreams, even form our futures. So when I sit down to write every day, I keep the fun, and also what I consider a large cultural project that connects people, at the center of what I'm doing.”

“I always thought that I could write a novel. In my case, it was misguided. I do believe that the best nonfiction is not "literary journalism," a misleading term, but rather journalism that asks the questions that serious literature asks. It's storytelling that happens to be true. So I don't think it was a missed opportunity. After awhile you learn what you're really good at. Life is short, so spend time doing that.”

“Digging up new information and speculating on it isn't your primary purpose when you're writing a biography intended for young readers, unless you find compelling evidence that departs from the accepted wisdom. A biography for young people calls for the demanding art of distillation, the art of storytelling, and your responsibility is to stick as closely as possible to the documented record.”

“I'm seeing more and more interesting horror come my way. More and more interesting thrillers and genre films are coming my way from the studio level, and they're financed and they have movie stars attached and all of that. But a lot of times, the storytelling just doesn't speak to me. It feels like it's still oftentimes coming out of a kind of prescribed notion of normalcy, prescribed notion of gender roles. There's not a lot of "new" seeming to be happening.”

“Film is such a director's medium; you're really in their hands in terms of the real storytelling. As an actor, you can give a performance moment to moment and some of your takes will be used and some of them won't. I think there are great films you can make with bad performances, and vice versa. There are all combinations of those things. It's really down to the director what happens, I think, so that's why it's really good to work with very talented, bold directors.”

“I think that's why it's difficult for women when they watch TV and we see one version of a woman who is attached at the hip to a guy, and that's kind of her whole thing. You kind of go, 'I don't relate to this, I don't feel this.' You know? Maybe somebody does, but not everyone. That's the other thing about storytelling, is you can't represent everybody. You know, you can't seek to do that. You have to tell stories that you're interested in talking about and characters that intrigue you.”

“Any platform that you use to tell stories helps you regardless of the medium regardless if they are bedtime stories that you tell your children or comics or film. Specifically what makes comics unique is that they are a storytelling device that forces you to think both visually and economically. Some might say you are limited by your imagination, but that is not true because someone has to draw it.”

“When we come back to fantasy, I think we're actually coming back to the real bedrock of storytelling. Our national or international genre really is fantasy, if you think about the worldwide myths and legends and stories that we all know, whether we're talking about Little Red Riding Hood or the Arabian Nights or Noah's Ark or Hercules. These are stories that cross many cultures in much the same way that dragons cross many cultures.”