I'm uninterested in superheroes. I am only interested in real stories, real people, real connection.
Every flower has a poetry of love in her heart, every tree has a story of struggle in his mind.
I've read stories that are set in a celebrity's house, and you know where it is and what it looks like and what's inside it, and that's not something I want anyone to know.
I write on sacred stories, symbols and rituals of all cultures - European, American and Chinese - but my audiences, typically, like me to focus on India.
I do think the story in Halloween 5 is a bit stupid, and there's a lot more blood. They're obviously going to take the Halloween series in a different direction.
My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.
You do get certain publications in the States where, if things don't go according to plan, they flip the story and it becomes very negative.
Even if you're in the thick of revising another work, write something new. Something small. It's important to keep telling yourself stories.
No one ever tells a story to help you figure out where to go when a door closes on you.
I've commissioned an adaptation of 'The Jungle', by Upton Sinclair, a story of a young immigrant from Lithuania to the meat-packing industry of Chicago in 1904, and the rise of the unions in America.
I came up with new leads for game stories by being observant and clever, by using the many gifts of the English language to intrigue and hook a reader.
There certainly does seem a possibility that the detective story will come to an end, simply because the public will have learnt all the tricks.
A good [short story] would take me out of myself and then stuff me back in, outsized, now, and uneasy with the fit.
A true writer should be able to write about any color. It's the story they tell that should affect people, not the race.
When I did A Soldier's Story, I was very young and green and thought I knew everything-now I know I know everything!
I would rather read a poorly structured story that has fresh ideas than a tightly structured one with cliches.
When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.
I really wanted to write an adventure story, a murder-mystery that was set during the gold-rush years in New Zealand.
I don't have a story about an epiphany in which I suddenly realised I wanted to be an actor. It was much more a case of the idea dawning on me gradually.
Part of what I want to do is sort of reclaim my story - it belongs to me and to my children, who have to live with whoever their mother is.
The difficulty with film is you always have to consign a story to being a certain length, whereas with a book you don't have budget constraints; you can cast it yourself.
