[last lines] Sheik's Great Grandson: So, these two men from your grandfather's stories, they really lived? Adult Walter: [wistfully] Yeah, they really lived...
The universe has a much greater imagination than we do, which is why the real story of the universe is far more interesting than any of the fairy tales we have invented to describe it.
I find my characters and stories in many varied places; sometimes they pop out of newspaper articles, obscure historical texts, lively dinner party conversations and some even crawl out of the dusty remote recesses of my imagination.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
I love a big, character-rich story with a dark heart, with a compelling mystery or some kind of ticking clock at its center. I want to be lured in by prose, captured by character, and bound by stellar plotting to keep turning the pages.
I could fall in love with a sumo wrestler if he told stories and made me laugh. Obviously, it would be easier if someone was African-American and lived next door and went to the same church. Because then I wouldn't have to translate.
I think I realized very early on that you can spend a lot of time constructing a really perfect scene in final draft and just end up throwing it away because you didn't figure out that mathematics of the story first.
Sometimes the fans want it both ways, of course. They want to feel like they're influencing the show, and at the same time, they want to think that showrunners have the story all mapped out in our brains. But it can't be both. In truth, we were usual...
Just about any story we think about doing, whether we've read it in a newspaper, heard it on the radio or come upon it through word of mouth - by the time you get there, every other network, cable station and talk show is already racing to the scene.
I didn't like school. I was pretty much daydreaming all the time. I would be in the back of the class writing down random stories and stuff that would have nothing to do with school. I only lasted two years in high school before I moved out to L.A.
There are certainly moments in the story room where you watch the movie die on the table. You put A next to B, and suddenly none of it lines up anymore. We feel that all the time. It's a terrible feeling.
I like that 'once upon a time' quality, where the telling of a tale has an elevated sense of story. There's a whimsical quality to it. Sometimes in fairy tales more things seem possible, even though often they're real world based.
When I first went public with my son Evan's story, I just planned to talk about the 'R' word - Recovery. But soon I was spending most my time talking about the 'V' word - vaccines.
Throughout the lead-up to the war, CNN worked hard to air all sides of the story. We had a regular segment called Voices of Dissent in which we spent time covering antiwar protests and interviewing those who were opposed to the war with Iraq.
The reason I quit being a sales manager over twenty years now is because I hate elevator pitches. I want to write stories and show people what's in them when they read them, not tell them all about it ahead of time.
That was certainly true the first time, when I did Body Heat, the first movie that I directed. I was looking for a vessel to tell a certain kind of story, and I was a huge fan of Film Noir, and what I liked about it was that it was so extreme in styl...
Playing with different genres and perspectives and ways of telling stories is one of the perks of being a novelist, but at the same time, I want precision. And in order to be precise about stuff, you have to get personal. Symbolism is very boring.
If you ask me, the place that a story happens is as equal character. It's almost like an ecological viewpoint: These people are living in this piece of land, and in this piece of land in this time this is possible. For me, I almost think location fir...
We start out talking about the story, trying to figure out who is who and what should happen, taking notes the whole time. Then I do a rough layout of the issue, showing what happens on each page. Then we discuss that some more.
You have to pay attention to the moments when you've felt on top on the world. I remember the first time I was on stage, I was doing 'West Side Story,' I was 17 and this woman was crying because she liked what I was doing so much.
I just enjoyed telling stories. I enjoyed watching films and reading and becoming someone else. I spent a lot of time on my own when I was younger; I enjoyed my own company and still do, so it was a source of escapism.
