The toughest challenge I faced came right at the beginning of my career with 'Blood Knot,' which was trying to convince South African audiences that South African stories also had a place on the stage.
'Game of Thrones' is the broadest of narratives. I don't know if anyone in the U.S. has done a story on such a large scale before, both in terms of what George R.R. Martin wrote and what's on the show.
Whenever people ask me what the story is for my next film, I won't tell and people feel it's because I'm being secretive or something, but it's actually because I'm ashamed to sum up a film in three sentences.
The stories are not autobiographical, but they're personal in that way. I seem to know only the things that I've learned. Probably some things through observation, but what I feel I know surely is personal.
Clearly the human story is one of acceleration. There has been a Moore curve in terms of the number of people alive on the planet, our technological ability, and our ability to understand ourselves. We have had this extraordinary, explosive growth in...
I don't carry any early childhood trauma around with me, if that's what you're hinting at. The story of the bicycles - and there were three of them which were stolen from me - I've dealt with it well.
Some people talk about children wanting to be born as though somewhere out there in the collective unconscious there's a spirit, or a thought or an idea that wants to be born. And I sometimes feel that way about stories... that they're there and they...
I don’t take up the story and follow it as if it were a road, taking me somewhere... I go into it, and move back and forth and settle here and there, and stay in it for a while. It is more like a house.
There's a bizarre insistence on how a story should be. 'The protagonist must be sympathetic!' they say. Whatever that means. I never engage in that discussion. I never use that word, 'sympathetic.' I just know 'interesting.'
My husband is old-fashioned and kind, he does the greatest Sinatra impression, and I'd never have written anything if he hadn't read all those bedtime stories and unloaded the dishwasher while I slaved over chapters.
I don't have to listen to the Gospel on Sunday to know the stories of the New Testament. They inform so much of what I write that they're practically like a news scrim that goes through my brain 24/7.
Just go on reading, as well as you can, and be sure that when the children get the thrill of the story, for which you wait, they will be asking more questions, and pertinent ones, than you are able to answer.
Writers do well to carefully attend to those moments of inspiration, because chances are that they're writing from a very deep place. The subsequent search that ensues to continually attend to that voice that you hear is what is going to give the sto...
The more we're governed by idiots and have no control over our destinies, the more we need to tell stories to each other about who we are, why we are, where we come from, and what might be possible. Or, what's impossible? What's a fantasy?
Last year, when we were in Mobile, Al., covering Hurricane Ivan, we heard the stories of poor people, many of them black stranded downtown because they had no way out.
When female stories are muted, we are teaching our kids that their dignity is second class and the historical accounts of their lives [are] less relevant. This lowered value carries over when women face sexual objectification and systemic brutalizati...
Two years ago I hadn't even thought of the Woman in White, and I was doing a television show and I said I hadn't found a story and the next day somebody rang me and said have you ever thought of the Woman in White.
Most writers spend their lives standing a little apart from the crowd, watching and listening and hoping to catch that tiny hint of despair, that sliver of malice, that makes them think, 'Aha, here is the story.'
I would make a genuinely terrible guide. I can't remember things. I would get half way through telling a story or explaining something and I would get distracted. Oh, and I have absolutely no sense of direction at all.
It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while ke...
