Just as music is noise that makes sense, a painting is colour that makes sense, so a story is life that makes sense.
Just as music is noise that makes sense, a painting is color that makes sense, so a story is life that makes sense.
But you're an artist. you should know there's more to a story than the part happening right now.
Every story I write adds to me a little, changes me a little, forces me to reexamine an attitude or belief, causes me to research and learn, helps me to understand people and grow.
I used to just daydream all the time about being in movies, from the age of, like, four onwards. I would sit down and watch movies with my father and my grandfather, and always pretended that I was in the stories.
A house with any kind of age will have dozens of stories to tell. I suppose if a novelist could live long enough, one could base an entire oeuvre on the lives that weave in and out of an antique house.
I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.
I started at a very early age in this business and I'm sure most of you have read stories about people who have started as children and ended up in very difficult lives and bad consequences.
I was a dancer from a young age. My parents were dancers; we were taken to a lot of ballet as children. It occurred to me that what I liked more than dancing the steps was acting the story of whatever particular performance I was taking part in.
I believed my story would be helpful to young women my daughter's age, who are still in the process of forming themselves as women, and in need of encouragement to remain true to themselves.
I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.
To write a story about New York that only deals with people in your age and socioeconomic bracket, that feels dishonest to me. So much of New York comes from everyone bumping into each other.
From the age of three to 15, I wanted to be a ballerina and trained really, really hard. Then I had that classic movie story moment, where I had an injury and had to give up my dream.
With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.
If you're older you want to tell stories about the pool of human life and living and to communicate, not only to your age group but to do an age group that can begin to understand, that has enough experience of life far beyond the taste of life.
Every age sort of has its own history. History is really the stories that we retell to ourselves to make them relevant to every age. So we put our own values and our own spin on it.
We've always lived in dark times. There has always been a range of human experience from the sublime to the brutal, and stories reflect it. It's no less brutal now; each age has its horrors.
I was always such a people-watcher. I would sit on street corners alone and watch people and make up stories about them in my head. Then, all of a sudden, I was the one being watched.
As a child, I was a brat, and my parents didn't know how to control me. So they told me ghost stories, which stayed with me. I am still petrified of darkness and being alone.
It's almost like these games are the modern day comic books, especially when you play Alone in the Dark. There's a real story that goes along with it and a movie seemed like the right kind of transition to make.
The whole kiss-and-tell thing is a negative approach that often happens in a World Cup. We will see negative stories about the players and it can affect their confidence and the overall performance of the national team on the pitch, let alone the bid...
