I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.
I suppose, I hoped, by setting a particularly brutal ancient rite in the present and in my own village to shock the story's readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives.
If you like to tell stories and compose sentences, and if you work hard at being good at these things, then you are a writer even if you haven't published anything.
The stories I write are often literal to events that have happened or observations that I've made, and sometimes they're fantastical.
Your heartbreak is just another version of the same old story.
We need more female directors, we also need men to step up and identify with female characters and stories about women. We don't want to create a ghetto where women have to do movies about women. To assume stories about women need to be told by a woman isn't necessarily true, just as stories about men don't need a male director.
Never fly commercial. That's the moral of this story.
I am only a mouthpiece through which to tell the story of lynching and I have told it so often that I know it by heart. I do not have to embellish; it makes its own way.
You can make a little thing feel like a big thing. To me, it's all tone. Tone is the most important thing in the world. Then character, then story, or something like that.
One of the biggest, and possibly the biggest, obstacle to becoming a writer. . . is learning to live with the fact that the wonderful story in your head is infinitely better, truer, more moving, more fascinating, more perceptive, than anything you're going to manage to get down on paper.
The biggest thing I worry about is the unsubstantiated story. You have to tell the people what you know -- and acknowledge what you don't know.
When we let ourselves respond to poetry, to music, to pictures, we are clearing a space where new stories can root, in effect we are clearing a space for new stories about ourselves.
Death is the sanction of everything the story-teller can tell. He has borrowed his authority from death.
Novels usually evolve out of 'character. ' Characters generate stories, and the shape of a novel is entirely imagined but should have an aesthetic coherence.
As a journalist, my job is to be dispassionate. Suddenly to be the centre of a story and to be crying, it made me feel very insecure.
My best clients tell stories that inspire. They tell stories about situations that you can identify with.
I've done 33 Sherlock Holmes stories and bits of them are all right. But the definitive Sherlock Holmes is really in everyone's head. No actor can fit into that category because every reader has his own ideal.
I'm simply pointing out that what happens to us isn't the whole story. That I continue to exist even when we're not together.
By nature, human beings search for ways to make sense and meaning out of their lives and their world. One way that we make meaning is through the telling of our stories. Stories connect us, teach us, and warn us never to forget.
A villain is just a victim whose story hasn’t been told.
