What I'm passionate about is telling stories which mean something to me.
You want to have a song that people will listen to and go, 'Oh, yeah! That reminds me of something in my life,' or, 'something I'm currently going through,' or maybe something happens later and you hear the song and go, 'Wow! That really was telling a story that I can relate to now. ' That's my hope.
As Joanna Macy reminds us, "Information by itself can increase resistance [to engagement], deepening the sense of apathy and powerlessness. " Stories about particular individuals and specific situations usually have the opposite effect. By giving unwieldy problems a human face, they also bring them down to a human-and thus manageable-scale.
I like the story about Henry David Thoreau, who, when he was on his death bed, his family sent for a minister. The minister said, 'Henry, have you made your peace with God?' Thoreau said, 'I didn't know we'd quarreled.
Once we have accepted the story we cannot escape the story's fate.
You have formal rehearsal, a lot of things you don't have in movies - which is, you have to formally rehearse. You have to know your back story, discuss it, and almost everybody onstage has to know each other's [story], so that when it comes time to actually do it, you can throw it all away. That's the way I like to - and I didn't realize until very recently - that's the way I like to prepare for movies.
I think I would love a shot at remaking 'The Philadelphia Story,' as daunting as it is. I still think it's fantastic. I love the '30s comedies because they're allowed to be both comic and elegant, and the women are so complicated in them.
I always liked spy stories.
I find it very hard to sit down and create an idea or especially a new character on command. Usually my characters evolve by accident out of some story context.
You have to believe in yourself and always strive for the best. Whether that is getting the best actor, the most talented cinematographer, or the best location for your story, you have to have the hunger to want it and be willing to do what it takes to get it. A filmmaker should never be satisfied with their work. There should always be something that they want to improve on.
It was a big story and yesterday's soup. Who cares?
And concentrating on the spot where the two spindles should be is the closest I get to looking Hannah's eyes as she tells my story.
My level of intervention in the press, trying to control stories, is zero. Subzero.
The only one interested in hearing your sad story is. . . you; and even you wish you didn't have to relive it again!
If I want a long boring story with no point to it, I have my life.
I love telling stories and acting and entertaining people. I don't want to make fun of people.
I didn't want to just write stories that were entertaining. Nor did I want to be so scholarly that people couldn't digest it.
Other people say stay on jobs, stay on Obamacare and repealing and replacing it, et cetera. So I guess it's two theories. I would rather fight fabricated stories, but everyone says you shouldn't do that, just go along.
Zachary Jernigan's short stories are in deep conversation with the history of the genre while maintaining a thoroughly modern sensibility. Here’s a new writer who has found his voice. Listen to him and enjoy!
It's not a filmmaker's job to explain his technique but to tell his story the best way he can.
