Gaming is going into storytelling. It was a new audience.
I love the whole kind of notion of transformation for me is (what) excites me about not only acting, but storytelling. I love, I love that notion of a slightly larger-than-life artistic truth, you know, magnifying real emotional truth (or) finding something about human condition (which), you wouldn't necessarily think you can learn from characters such as Kong or Gollum, but actually they are, you know, these huge amplifications of a human psyche and I suppose those kind of roles have always attracted me definitely.
The thing I love about this story [The Killing] and this type of storytelling is that I don't have to know the end before I know the beginning.
The key is to work with people who are passionate about storytelling and who have a similar sensibility of the type and nature of the stories that you want to tell.
I am and will always be a HUGE Star Wars Geek and wanted to study film making. I really am not a fan of writing- I prefer storytelling and rather jump to storyboards to relay my vision then a lot of wordy words.
Everyone who's ever met Guillermo Del Toro knows that he's the most generous, creative, mind-bogglingly wonderful man. And I was so lucky that he had seen Storytelling and he asked me to do Hellboy. And then I watched Devil's Backbone and I was blown away.
There has to be a reason of whether you look right or you bring the emotional or intellectual baggage of what's required for the storytelling. For me, it's not something I've aspired to say, "I'm going to be working in Hollywood."
I really admire visual storytelling that shows you what's happening, instead of tells you what's happening. I think it really forces the filmmaking to be very clear.
I always say that, if you have great actors and great storytelling and great monsters, and you mix them together, nine times out of 10, it explodes in your face.
All your clear and pleasing sentences will fall apart if you don't keep remembering that writing is linear and sequential, that logic is the glue that holds it together, that tension must be maintained from one sentence to the next and from one paragraph to the next and from one section to the next, and that narrative - good old-fashioned storytelling - is what should pull your readers along without their noticing the tug.
You can take the high moral ground intellectually, but if it ever happens to you personally, I don't know that I could honestly say that I wouldn't want to kill someone who took someone away from me. So, it's a rich, fertile ground for great characters and great storytelling. That was the impetus.
They're [zombies] us, you can also have the wrestler zombie, the clown zombie, the Jay Leno zombie and the nun zombie. I've never seen the clown werewolf or vampire. But because zombies are us, at the lowest possible level, they're a lot more versatile for storytelling.
You can put the camera in places where you may not necessarily be able to put it there if I don't do the stunt. If it's character and it's storytelling, then we do it. We design the things around me. I don't do it just to do a stunt. It's storytelling for me and how I can best bring the audience into the action, bring the audience into the story. And that's how we always look at at.
Some people feel like you need to have a very specialized understanding of music to have the authority to talk about it. They are such good directors that it's perfectly possible to have conceptual and directorial and storytelling conversations about music without needing to know all the technical pieces.
Storytelling is all about using the imagination, for me at least it is. That's why I'm bored sometimes to see movies. I'm bored to see TV. I never see TV. I see news sometimes. I'm sorry to say, I work in this business and I love working in it, but I haven't seen a movie in so many years.
When we make films - even 2D films - you're always trying to create this illusion of 3D, anyway. You're trying to create a believable world with characters walking, in and out of the perspective, to create the illusion that there's a world. The desire and drive to create this illusion of three-dimensional space is something that is true about every kind of film because you want the audience to really be experiencing it, first hand. It's a natural extension of the storytelling and the process of filmmaking.
There is a big difference between storytelling and being alive. Those are the two things that I prefer in life - telling stories and being alive.
I'm a big believer in pairing classics with contemporary literature, so students have the opportunity to see that literature is not a cold, dead thing that happened once but instead a vibrant mode of storytelling that's been with us a long time - and will be with us, I hope, for a long time to come.
[Some people think] that storytelling is telling jokes. So they have to be discouraged! Then others think that storytelling-is like an encounter group . . .
I don't think the world objectively exists the way we think it exists. There's a constant sort of storytelling process.
I think it's very important for any actor to eventually produce, and create the projects they want to create. I believe it's all a part of the same art form, which is storytelling.
I believe in storytelling, not story-selling. I want people to believe the characters are real. So I'm a realist.
My work is basically images set to my particular voice. It's the way the images rhyme and the rhythm. It's a way of economical storytelling for me.
I think television is a unique form, in terms of storytelling. Having source material for these really dense, complicated, serialized dramas is a great way of world-building.
I remember that - you know, I didnt receive a formal education. I was educated in the Montevideo cafe, in the cafes of Montevideo. There, I received my first lessons in the art of telling stories, storytelling.
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