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I worked in Hollywood as a reader and a would-be writer for about 6 years before I sold my first story.
I saw an adaptation of Ingmar Bergman's 'Fanny and Alexander' at the Royal Theatre in Copenhagen. The story is just legendary for us Danes, and it was really well done.
I'd rather have a small part in a big film or good story than do a solo film just for the sake of it.
The trouble with telling a good story is that it invariably reminds the other fellow of a dull one.
After watching my Kannada film 'U Turn,' director Kannan narrated the story of 'Ivan Thanthiran,' and wanted me to attend the auditions in Chennai. He selected me after seeing me perform to two difficult scenes I was given during the screen test.
Films just happened by chance. I had no interest in films or acting as a heroine, but that's a long story.
My criteria for choosing a film are first the story and the team that I'm working with.
I fundamentally do not believe in the patenting of software. It would be like Shakespeare patenting the tragic love story.
Most of the roles I've had, usually the story's about how the man affects my character.
We see - every week or two, we see another story of a small business that went out of business because Donald Trump.
I've always been drawn to Marilyn Monroe, but certain aspects of her story may be too sad to tell.
With 'Shameless,' 'Homeland' and 'American Horror Story,' these are all shows that don't follow a particular mold, and they are out-there. The acting is spectacular.
I'm fascinated by current events and the privilege of trying to share it with other people and tell a story.
My favorite films are the ones that I walk away from and I know I saw a story.
'The Wire' is similar to 'The Walking Dead' in so far as everybody pulling for everybody else to get to the turning point of the story.
If I'm telling an L.A. story, I want to tell a fresh L.A. story and show places that haven't been shown before.
Everyone was very deeply involved in the world of 'The Lord of the Rings'. From the wardrobe department to lighting, all were fascinated with the story. This is something that does not happen usually.
I think we have a perception of transvestites all being the same, as one block. It's not one mass or tribe. Everybody's got a different story.
When words I uttered, believing them to be true, were exposed as false, I was constrained by my duties and loyalty to the President and unable to comment. But I promised reporters and the public that I would someday tell the whole story of what I knew.
Really I'm a fan of any movie, whether it's suspense, action, or comedy - anything that has a good story.
I had seen 'Pithamagan' at the big screen in 2003. I was moved by the story and especially the character played by Vikram.
I am proud of the fact that I have co-produced the film 'A Billion Colour Story.'
When I write an original story I write about people I know first-hand and situations I'm familiar with. I don't write stories about the nineteenth century.
I've made seventeen or eighteen films now, only two of which have been original screenplays, all the others have been based on short stories or novels, and I find the long short story ideal for adaptation.
First and foremost, The Quiet Invasion is a first contact story. What would we do if we actually found evidence of alien life out there? It's also about politics.
My story is the story of many postwar British families. Upward mobility. A council house and then new affluence.
Novels are nothing but evolution, but there does come a point when that stops, and the story is sealed within the pages of the book. That doesn't happen with a play. Even performances are different every night.
I've waited for a novel from Charles Yu with eager anticipation since being bowled over by his 2006 short story collection, 'Third Class Superhero.'
What makes a story a story is that something changes. Internal, external, small or large, trivial or of earth-shattering importance. Doesn't matter.
I'm interested in telling the character's story, not my beliefs, political or otherwise.
Basically, I just write whatever story grabs me rather than considering the genre.
It would be great to do a story and get somebody who is innocent out of jail. That's a wonderful thing.
You can have a bunch of great actors in a film, but if you don't have anyone telling a great story, it's a moot point.
It was really great to be part of the Philip Roth story as a woman in a very complete way.
'Suffragette' is an intense drama that tracks the story of the foot soldiers of the early feminist movement as they fight for the right to vote.
I suppose 'This Little Life' and 'Brick Lane' both have things in common in that they have a female protagonist very much at the centre of the story, and they're subjectively told.
I didn't 'decide' to write YA, per se. But every time I thought of a story, it featured characters 15, 16, 17.
I'm not really a plot writer - I'm more interested in the characters and sort of small events that propel the story forward.
Readers want a story, not a pattern. It's the specifics of a story that make it really ping our various reader radars.
It seems natural to surround my fictional world with animals because my reality is full of them. When I'm sitting there conceiving a story, they just pop up.
I always wrote; my first story was published in the magazine The American Girl when I was 11.
Unlike China's growth story, which has been built on the strategy of creating excess supply, the Indian growth story has been built on the strategy of responding to incentives generated by excess demand. Which is why a certain degree of inflation is built into the Indian growth process.
DDLJ' - it's an out an out love story and one can relate to it. It's one of the best movies I have ever seen.
I thought that strange syntax was the language of story books. I didn't realize those were poor translations... English from Edwardian times.
For each book, there's a back story of where the idea came from. Sometimes it's derived from a current event or topic of discussion, such as 'Deadline.'
We want a story that starts out with an earthquake and works its way up to a climax.
I was 7 years old when I began composing. I began composing, improvising at the piano, the usual story.
The story of U.S. policy during the genocide in Rwanda is not a story of willful complicity with evil. U.S. officials did not sit around and conspire to allow genocide to happen.
I wanted to write a sci-fi story that would appeal to young women. Loads of girls like sci-fi, but it's more culturally associated with guys.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
There are so many stories from the Midwest that should be told. L.A. tells one story, and it's often about itself.
I felt like the country lays out like a pretty beautiful story itself, heading from the East Coast to West.
The idea for 'Conversations with Friends' - two college students who befriend a married couple - struck me at first as a concept for a short story. I started to write it under the title 'Melissa,' and eventually, it got too long.
I was also the romantic lead in The Boston Strangler - I was the only one that lived to tell the story - so I called myself the romantic lead.
Everybody has their own story - it's who you are. If I wasn't five-foot, I wouldn't be who I am!
In childhood, we used to read stories from the Arabian Nights. Why were we so interested when it happened somewhere in Arabia, in a different culture? Until now, we hadn't gone to the Hindi audience with a good story.
Creating is one thing; telling the story is one thing. I see myself more as a storyteller than a story creator.
The thing is, the Tulsa experience that I wrote about in 'The Outsiders' is closer to the universal experience than it would be if I wrote it from L.A. or New York. It's an everyman story.
I'd love to do another film version of 'Romeo & Juliet.' I'm not too picky as long as it's a good story.
While most of the things you've worried about have never happened, it's a different story with the things you haven't worried about. They are the ones that happen.
'West Side Story' was one of the high points of my career. Yet, when I first saw it, I was really disappointed in how I came off.
I first saw 'West Side Story' on stage in 1958. I was in the army, having been conscripted while under contract to MGM. I caught the musical in New York, fell in love with it, bought the album, and memorised the whole thing.
It was tough to cope with the pressure of having to talk about menstruation, but now with 'Newsweek' splashing it as the cover story, I thing the point I wished to make has found its mark.
The ghost story is a popular genre of mine and is particularly adaptable to the visual media.
For the film 'Saat Khoon Maaf,' which was adapted from my story 'Susanna's Seven Husbands,' I did collaborate on the screenplay. I even took a small role in the film, of a priest.
If I'm really immersed in a story, I try to finish it in a few days. If it's a longer work, then it would take a few months.
A lot of my early career, I wrote story songs that had narratives, that had plots.
A good story often increases the salability of an item without increasing its actual value.
In 1979, Magic Johnson and Larry Bird entered the league. I remember that. Soon after this, the story began to be repeated ad nauseam: the NBA, a tottering mess in the seventies, was saved in the eighties by these two.
In 'A Likely Story,' I wanted to recreate the events, the mood, and the imagery of my life as a teenager. I was thirty-seven when I wrote it.
The thing is that my father's story helps to communicate what was at stake with my mother, and my mother and father had so much a partnership that his story is integral to her story, as her story is to his - really, her story can't be told without his story.
There was a story saying I didn't like contemporary comedians, but it's completely untrue - a lot of them are very dear friends of mine.
When 'The Washington Post' ran the first national story about FBI profiling in 1984, no one outside of law enforcement recognized the term.
I usually do at least a dozen drafts and progressively make more-conscious decisions. Because I've always believed stories are closer to poems than novels, I spend a lot of time on the story's larger rhythms, such as sentence and paragraph length, placement of flashbacks and dialogue.
I love learning about different dialects and I own all sorts of regional and time-period slang dictionaries. I often browse through relevant ones while writing a story. I also read a lot of diaries and oral histories.
Each piece I tell stands on its own, and then it all ties together. It segues from story to story, and then I wrap it up - like three-piece movements in a symphony.
Our pasts so many times determine the value of what is happening today. Everybody is midway in their story.
I'm not at all sure dialogue is meant to advance the story; I know that sometimes it is the story.
With 'Noontide Toll', I wanted to cater to a single story but also collectively more than a single story.
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