Theater and film are essentially the same - just different kinds of storytelling.
Tightly-plotted, well-researched and beautifully drawn, this book is a real delight. Garen Ewing's mix of engaging characters, exciting old-school adventure, attractive ligne claire artwork and fluid storytelling makes The Rainbow Orchid easily one of the best graphic novels of the year.
Every bit as visceral and hypnotic as its award-winning predecessor, On the Ropes is a tour-de-force of fluid, yet detailed storytelling.
The definition of horror is pretty broad. What causes us "horror" is actually a many splendored thing (laughs). It can be hard to make horror accessible, and that's what I think Silence of the Lambs did so brilliantly - it was an accessible horror story, the villain was a monster, and the protagonist was pure of heart and upstanding so it had all of these great iconographic elements of classic storytelling. It was perceived less as a horror movie than an effective thriller, but make no mistake, it was a horror movie and was sort of sneaky that way.
I come from a filmmaking tradition and a storytelling background. So somehow I've emerged like a mutant who can straddle both worlds.
I myself wouldn't want to read a magazine that focuses solely on a small part of the literary field or of the popular culture - better to smash the borders and look for interesting and important stuff from many different forms of storytelling.
What I like is not a particular genre, it's storytelling. There's a lot of great storytelling in jazz, and in folk and in country music.
I love being a part of storytelling, so whether I'm getting to do that on Survivor, or do it through kids' adventure books, or directing a movie, it's all sort of the same: Once Upon a Time...
Losing all the preconceptions that I had about storytelling, about the world, you know, and learning to see the world from a different perspective. It sounds romantic, but it's not an easy process at all.
The evil of storytelling is you're trying to make the audience complicit in murder - 'Kill the guy! Jump him!' And then once you've done it, it's like, 'I've killed this guy, now what?
I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.
In December 2011, I will be opening up my production house, Sharmeen Obaid Films, and aspire to change the way Pakistanis approach nonfiction storytelling. There are thousands of stories to be found here.
I have long admired the visceral storytelling and moral complexity of John Vaillant’s brilliant non-fiction about humankind’s tragically ambivalent relationship with the natural world. Now he brings his abundant literary gifts to a debut novel set in a very real borderland in which human beings are themselves treated like animals. The Jaguar’s Children is a beautifully rendered lament for an imperiled culture and the brave lives that would preserve it. You should read it.
I've always loved the blues, ever since I was a kid. It has a depth to it that a lot of contemporary music doesn't have. It has pain and suffering in it, but funny stories, too. And it is built on storytelling, which is something I really love.
The single thing all women need in the world is inspiration, and inspiration comes from storytelling.
Human beings cannot live without stories.
Storytelling is how we survive, when there's no feed, the story feeds something, it feeds the spirit, the imagination. I can't imagine life without stories, stories from my parents, my culture. Stories from other people's parents, their culture. That's how we learn from each other, it's the best way. That's why literature is so important, it connects us heart to heart.
Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.
I've always loved theatre because it's so immediate. The challenge of it is that, career wise, it's easier to get traction in the industry if you do film and TV because the audience is larger, and because the work can be seen for a longer period of time. I did solid work in a series of regional and Off-Broadway shows, but the work I did on TV or film will have a longer life with a larger audience (and with services like Netflix). Ultimately, there's something intimate about TV, because the storytelling and the actors come home with the viewer. It can be powerful because of that.
I think because I am a physical person, and because my way of expressing and performing and storytelling or explaining has always been with my body, if I can combine the two I find it really liberating.
If I am a fan of my own music, which I am, I want to hear the best Madchild I can hear. What am I missing? I sort of had a good talk with some close friends of mine that I really respect and look up to in music as well and we all just came to the conclusion, just some more storytelling songs of things I have gone through.
The way that people are watching TV is changing. The landscape of television is changing. Movies are becoming much more insular. They're like a walled garden, where you know what you're going to see and you expect it. But in the world of TV, because it's episodic, you can explore any area because you have time to do that. You can take risks on the kinds of storytelling that you're doing.
I still see storytelling for men by men that is always reinforcing the male gaze.
The future of cinema and communications is all about collaboration and the decentralized control of storytelling. We're all part of the story; we can all contribute and participate.
When you don't put your initials behind your name, and I've got tons of them, and when you talk about storytelling or love or gratitude, you're diminishing your legitimacy and importance in this world.
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