Narrative Quotes - Page 32

• When you're on stage, you build strong relationships with the actors, but it's a story you tell with the audience - you have to include them, you have to respond to them, they have to understand the narrative.

  Romola Garai

  Strong, Stories, Actors

  Source: blogs.indiewire.com

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• Women don't question themselves when they enter into a story that has male characters, but men do question the validity of a female narrative.

  Romola Garai

  Character, Men, Males

  Source: blogs.indiewire.com

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• There is enormous need for professionals who know how to tell stories with narrative punch and nuance, who can work proactively and not just reactively, and whose approach is multi-faceted. We need more "useful photographers."

  Fred Ritchin

  Needs, Stories, Nuance

  Source: www.motherjones.com

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• STORY, n. A narrative, commonly untrue.

  Ambrose Bierce

  Stories, Untrue

  Ambrose Bierce (2016). “The Devil's Dictionary: The Devil World”, p.210, 谷月社

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• At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.

  Julia Bacha

  Powerful, Heart, Successful

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• We've had fiction from the time of cave drawings. I think fiction, storytelling, and narrative in general will always exist in some form.

  Edwidge Danticat

  Thinking, Drawing, Fiction

  "A Voice in Haiti’s Chorus". Interview with Elizabeth Gettelman, www.motherjones.com. 2010.

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• Sometimes the art pieces I gravitate toward speak to me in terms of narrative, at other times they speak to me in terms of mood.

  Claudia Rankine

  Art, Pieces, Sometimes

  "I am invested in keeping present the forgotten bodies". Interview with Ratik Asokan, logger.believermag.com. December 10, 2014.

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• The moment we shake our addiction to narrative and give up our strong-headed intent that language must say something "meaningful," we open ourselves up to different types of linguistic experience, which could include sorting and structuring words in unconventional ways: by constraint, by sound, by the way words look, and so forth, rather than always feeling the need to coerce them toward meaning.

  Kenneth Goldsmith

  Meaningful, Strong, Giving Up

  Source: www.believermag.com

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• I like making books but I'm not sure exactly what I'm doing. Perhaps I just try to arrange a bunch of seemingly random drawings into something that makes a vague narrative sense. Sometimes it sort of makes sense, sometimes it doesn't.

  David Shrigley

  Book, Drawing, Trying

  Interview with Jason Polan, believermag.com. October 2011.

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• My concern is how we live fictions, how fictions have real effects, become facts in that sense, and how our experience of the world changes depending on its arrangement into one narrative or another.

  Ben Lerner

  Real, Fiction, World

  Source: www.believermag.com

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• I guess when I'm frightened or in pain or maybe very bored I've tried to hold myself together by imposing a narrative order on the experience as it happens.

  Ben Lerner

  Pain, Order, Bored

  Source: www.believermag.com

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• I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor

  Ben Lerner

  Art, Book, Track

  Source: www.believermag.com

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• Each character requires different language, and these issues become inseparable. You have all these balls in the air: language, character, narrative. For me, the primary focus must be words, sentences, paragraphs.

  Dana Spiotta

  Character, Air, Issues

  Source: www.believermag.com

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• I wouldn't want to be defined so much by comics or cartoons. My work is more narrative than that. If you take your basic cartoon, there's always a punchline or a joke at the end. My drawings don't depend on that so much.

  Raymond Pettibon

  Drawing, Cartoon, Want

  Interview with John O’Connor, www.believermag.com. December 2004.

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• I don't really think in terms of the future of literature. I think literature will be around "forever" - but in a relatively niche way, like jazz and poetry, although probably more widely consumed than jazz and poetry since it's fundamentally a narrative form. And I think that's important and places like Word Riot and 'The New York Tyrant' and 'n+1' will be responsible for keeping it alive.

  Nick Antosca

  New York, Thinking, Tyrants

  Interview with Shane Jones, logger.believermag.com. September 16, 2013.

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• "Hello" is always presented as a linear narrative, a singular chain, sometimes in a loop. But the reality of making it is that connections are naturally sprawling all over the place, so I am free to edit any way I want.

  Aleksandra Mir

  Reality, Connections, Want

  Source: www.believermag.com

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• Modernism had two great wishes. It wanted its audience to be led toward a recognition of the social reality of the sign (away from the comforts of narrative and illusionism, was the claim); but equally it dreamed of turning the sign back to a bedrock of World/Nature/Sensation/Subjectivity which the to and fro of capitalism had all but destroyed.

  T. J. Clark

  Reality, Two, Wish

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• The biggest challenge in the research process is to let go, to stop, to say enough, and then to reduce all of that beloved labor down to a few succinct paragraphs that shape the background to your narrative. I love research - that's all the fun, especially in the field. To write, however, is to suffer, and my pieces usually come in thousands of words over the assigned length. That's a serious flaw in my writing process - shaping and disciplining the footlockers of material one has so happily gathered.

  Bob Shacochis

  Letting Go, Fun, Writing

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• Writing is a process of discovering. I could never outline a narrative; that just sounds boring. There's no joy of discovery in what you're doing if that's your strategy.

  Bob Shacochis

  Writing, Discovery, Joy

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• Girlchild . . . unfolds a compelling, layered narrative told by a protagonist with a voice so fresh, original, and funny you'll be in awe. This novel rocks . . . In Girlchild Tupelo Hassman has created a character you'll never forget. Rory Dawn Hendrix of the Calle has as precocious and endearing a voice as Holden Caulfield of Central Park. When you finish this novel, your sorrow at turning the last page will be eased by your excitement at what this sassy, talented author will do next.

  Mameve Medwed

  Character, Sassy, Central Park

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• I've never been interested in the convention of dialogue that facilitates narrative-it's always sort of bored me. I find myself zoning out just listening to cadences of voices and tonality and this sort of thing.

  Rick Alverson

  Voice, Bored, Listening

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• The true history of Vietnamese civilian suffering does not fit comfortably into America's preferred postwar narrative - the tale of a conflict nobly fought by responsible commanders and good American boys, who should not be tainted by the occasional mistakes of a few 'bad apples' in their midst.

  Nick Turse

  Mistake, Boys, Apples

  Nick Turse (2013). “Kill Anything That Moves: The Real American War in Vietnam”, p.256, Macmillan

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• Or is anyone's identity a matter of fragments held together by convenient or useful narrative, that in ordinary circumstances never reveals itself as a fiction? Or is it really a fiction?

  Ann Leckie

  Together, Identity, Ordinary

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• The biggest misconception is that I'm only a documentary filmmaker, but in fact I have made many narrative shorts. My biggest inspirations are narrative films, and that's ultimately where I see myself going next.

  Alex Hammond

  Inspiration, Next, Documentaries

  Source: blogs.indiewire.com

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• The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.

  David Adjaye

  Brother, Art, Museums

  Source: www.interviewmagazine.com

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