One reason we love fiction is because stories have a comforting shape. They provide a resolution that's lacking in our regular lives.
I'd love to do some bedtime stories for kids or that kind of thing. But with the demands of the shooting schedule and balancing the demands of being a single mother, it's a wonder you can squeeze in anything.
I love coming up with the stories and being creative and working with creative people and coming up with visuals and creating characters.
I always knew that I was tremendously creative. I recited love poems, I wrote stories and I got excellent grades in every subject, except for maths.
I love stories about people who are smart enough to know that what they're doing is destroying them, but that knowing that doesn't help them.
I love how you can shoot a movie in a month or two or three of four, and it's this encapsulated story that you box up and ship out into the world, and what it is, is what it is.
I would like to do a music person's story, a bio. I've wanted to do Aaliyah forever. But I don't want it to always be like, 'I'm singing again in a movie.'
Music is always key to me, whether it's 'Miami Vice' or not 'Miami Vice.' It's dictated by the story, about what Crockett and Tubbs and Isabella and Trudy are doing.
Each one of us had a little story to tell and each recording was based on that. Lou played all of the music but we both sort of kicked around some cords during the writing phase.
If the breaking news story had to do with hard news, politics specifically, I had a lot to do with it. If it had to do with music, Kurt Loder was more involved.
The whole story of the comfort women, the system of forced sexual slavery, the medical experiments of Unit 731, is not something that is in the US psyche. That is changing because many books are coming out.
You lie awake at 3 in the morning thinking of story ideas. You're online at 8 a.m. on a Sunday or midnight on a Wednesday. It's a job that you never push aside.
'Save the Date' feels like a quiet story about two sisters and the men in their lives, kind of reminiscent of the quieter rom-coms of the 1990s; it's very character-driven and not as wedding-focused.
I like movies about people and movies with characters; that's what I'm drawn to as a person who likes to create these characters within the story, but I like it all, really.
There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.
Rap for me is like making movies, telling stories, and getting the emotions of the songs through in just as deep a way. And I grew up in rap and movies the same way.
When I started writing, there was nothing about zombies. It was all teen movies, which to me are scarier than zombies, but that's another story.
It's not like some movies where you're following a bunch of different stories you can cut around. There was nowhere to cut to. It's these guys. We're not cutting back to anybody else.
The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing, and put it into a story.
Despite the impression you may have from watching too much TV, movies are not about reproducing reality. They're about telling stories.
Narrator: Philoméne likes the sound of the cat's bowl on the tiles. The cat likes overhearing children's stories.
