I've heard so many stories of young girls watching the Olympics and being inspired by it, and they want to do it now, and that's really cool.
Some stories are true that never happened.
Point of view is not something I consciously decide. Almost always, when I come up with a plot I find that the point of view has automatically arrived with it, part and parcel of the story.
The Chicago City News Bureau was a tripwire for all the newspapers in town when I was there, and there were five papers, I think. We were out all the time around the clock and every time we came across a really juicy murder or scandal or whatever, they'd send the big time reporters and photographers, otherwise they'd run our stories. So that's what I was doing, and I was going to university at the same time.
But Ship Who Sang remains my favorite story. I really rocked folks with that and still cannot read it aloud myself without weeping at the end
Any carefully planned thing destroys the creativity. You can't think your way through a story; you have to live it. So, you don't build a story; you allow it to explode.
I don't write fiction but I do write narrative; I write memoirs that I treat like stories, so whenever I'm using somebody I actually know as a model, I am submitting them to the agenda of a storyteller, and I feel free to do what I want.
So I decided to make a film about our need to tell stories, to own our stories, to understand them, and to have them heard.
You try to pick good stories, and that's pretty much all the control you have as an actor.
I think any time you've got a story based on a true story, no matter how accurate it is, obviously it's still fictitious.
Every family has a story, and I love that those stories are etched in sand rather than granite. That way we can change them. We can bury the lies and embrace the truth. And we can move forward.
I never had a story for the sequels, for the last trilogy. That's not really part of the plan at this point, and I'll be at the age where to do another trilogy would take 10 years. I'd always envisioned it as six movies. When you see it in six parts you'll understand that it really ends at part six.
In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.
As we tell stories about the lives of others, we learn how to imagine what another creature might feel in response to various events. At the same time, we identify with the other creature and learn something about ourselves.
Aurelie Sheehan's absorbing stories have depth miles beneath their compelling surface. They radiate a wisdom, beauty and originality rare in contemporary fiction.
Sometimes you have dreams about the day or something like that. But, for the story, it's just present and what you have left ahead of you to do and how things look that day that you reflect on. It's just there until you're done.
Every woman must own her story; otherwise we are all part of the silence.
I just use my life story as a kind of device on which to hang comic observations. It's not my interest or instinct to tell the world anything pertinent about myself or my family.
Study people's success stories hard. Study their failures even harder.
That's the most important thing for me in TV, telling the story to as many people as we can.