If somebody gave you several thousand dollars and nothin' to do but write, would you be a writer then? Would you tell your stories, your family's stories, then?
Antwone's story was a story of hope and that's what appealed to me. I needed hope myself at that time. I think all actors give up at some time and think they're never going to make it.
Because they're my stories, they're my version of events of the past three years. But I really hope people can hear their own stories within the songs and they can become our version of events.
My story is the story of thousands of children from around the world. I hope it inspires others to stand up for their rights.
The first movie was mostly about George and Julia. This one is mostly about me and Catherine and our love story and our whole history. So it's a very different movie.
History class was a forty-minute squirm from which I would emerge unscathed by insight. Down the hall in English Lit, though, there were stories to be had, and it was stories I craved.
God seeks to influence humanity. This is at the heart of the Christmas story. It is the story of light coming into the darkness, of a Savior to show us the way, of light overcoming the darkness, of God's work to save the world.
The Christmas story has such power and such appeal every year. There are other stories we get tired of. You think of your favorite movie; you don't want to watch it 15 times.
Death is either an incredible ending to a story or, more often than not if you ask the right questions, it's the beginning of a story.
There's a story everywhere. Being bored to death someplace is basically a funny proposition. What you have to watch out for is you don't write a boring story about a boring place.
That's what's so great about television. You're able to tell this long story, where you couldn't really do that in a film because you have to tell a story in an hour and a half or two hours.
One of the things that I have learned since trying to bring in an interesting story in under 28 pages is that we already agree on great chunks of typical superhero stories.
I think the work that they do and the style of 3D graphics is absolutely fabulous and I think it's a great brush to use for some stories. And there are other brushes that I think are exclusive to a different kind of story.
When I started out in the early 1930s, there were a great many magazines that published short stories. Unfortunately, the short-story market has dwindled to almost nothing.
I've read a lot of really great characters in some really crappy stories, where I said, like, 'Boy I could shine here, but the story sucks.' I don't want to be part of that.
But, you know there's a lot of westerns - not that they were bad - it's just that they can be remade because they're great stories that aren't indelible in an audience's mind when it comes to both the cast and the story.
It is in your DNA to love a good story. You know, neat tales with heroes and villains and conflicts to resolve. A good story pushes our buttons, is exciting and memorable.
To be completely honest, I just like whatever tells a good story. Put me in whatever setting, scenario, genre. If you're telling a good story, it's great and it's fun to get caught up in.
I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.
I just like a good story. I want the story to be good and I want the character to be different than the last one I played. That's not always possible, but that's what I want.
The world of spying is my genre. My struggle is to demystify, to de-romanticise the spook world, but at the same time harness it as a good story.
