Most politicians - those people who live, eat and breathe politics - like to sit around and talk about politics and tell political war stories. Reagan didn't do that. His war stories were movie war stories and Hollywood war stories. He loved that.
To some extent, each sentence has to be the whole story.
The level of dependence on government among rural populations is actually extraordinary. They suffer even more when that assistance is taken away because they don't have access to the economic dynamism of cities. So if there are ways to tell stories that help people in rural areas see their kind of mutual need for care, that to me is the kind of thing that I want HuffPost to try and do.
I think facts and truth are essential to journalism but you need to reckon with emotion. You have to deal with how people feel, otherwise you miss the story.
Jim Rich is many different things but he has a great combination of a kind of old school tabloid reporter and editor's sense for what's a great story, but he's also incredibly passionate about social justice. I think Shaun King called him the most woke editor in American, if that's a compliment.
The New York Times I think really is the gold standard of a certain type of journalism and in some ways it's the most important type of journalism, this chronicle of the biggest and most important stories of our time covered with a level of rigor and seriousness that is really unparalleled.
I think all of us in the pursuit of more perfect version of the truth and the story need to reckon with what we bring to the story, and I think that I'm confronting that in a very real way everyday. I'm extremely proud of who I am and it's nice to see it celebrated, but if someone were to ask me to list in order the biography, you know journalist comes first.
My guitar player calls the process of writing lyrics based on another story, "filling up the well" when you can get inspiration from other people's art without stealing, more being influenced by it.
The style developed over decades, really, but I started out writing pretty traditional stories, then became impatient. It was a writer named Russell Edson who showed me that one could write in any way at all.
My stories are sometimes closer to poems or meditations, but often there is at least a little narrative in them.
I don't pare down much. I write the beginning of a story in a notebook and it comes out very close to what it will be in the end. There is not much deliberateness about it.
I started writing the one-sentence stories when I was translating 'Swann's Way.' There were two reasons. I had almost no time to do my own writing, but didn't want to stop. And it was a reaction to Proust's very long sentences.
To be simple, I would say a story has to have a bit of narrative, if only "she says," and then enough of a creation of a different time and place to transport the reader.
What really grabs me is when a reader writes to express her personal story and how a book helped her situation, or her acceptance of a situation she can't change. I read some sad cases in my snail and electronic mail. I respond to all I can, affirming that they are the true heroes of life because they are fighting through adversity and surviving.
On TV, stories and events are finalized in 30 or 60 minutes, or neatly tied up after a season or two. The best stories are the ones that force us to come to our own conclusions and to explain why we believe in our conclusions.
I remember in my very first fitting, costume designer Patricia Norris gave me a garment with these intricate stitches - stitches over stitches, because it had been repaired so many times. Once I put it on, she told me that it belonged to an actual slave woman. My heart just stopped. Each one of the stitches had a story, you know. Just recognizing this period I was going to be dancing with was a "come to Jesus" moment.
I would love to have a career that's governed by the material; I always want to be part of stories that I feel are worthwhile.
I saw the dudes who would be the gangsta, big-time guys on the block, but would also be dedicated fathers. It was kind of weird to see that dual story that everybody has.
The story of 'Lasers' is my story. I didn't have to look too far to get subject matter for this record; it was stuff that was happening to me.
I come from a culture that was isolated for a long time - I have my own story to tell, in my own style, and an aesthetic approach that was mostly self-taught. So, does it fit a reader's curiosity? Will it meet their expectations?
Especially with a comedy, you've got the clear cut goal of trying to make a scene funny. It's not like drama where you're trying to achieve some kind of emotion or trying to further the story along. You're trying to figure out what's the funniest way to do something.
asically, we got to know other and openly trade stories, and had some time to prep. As far as the 'going too far' thing, the great thing about film art is that you can go too far, and with multiple takes nobody has to see it.
With everything you do as an actor, you obviously know the full story. But the person watching it doesn't, necessarily. So, you just have to discipline yourself to wipe the slate clean as you go along.
If there was a story about boys playing punk I don't think I would've made it, because it would just be the same, it wouldn't be interesting enough.
In choosing any role, I ask the same questions: what kind of part is it? is the role challenging? does the director have a vision? is the story moving? etc.
To tell a strong story with real taste of an epic tragedy needs great actors.
I love the short story for being round, suggestive, insinuating, microcosmic. The story has both the inconvenience and the fascination of new beginnings.
When you're writing, your mind has a place where the stories happen. With one word, you can get the idea of where you are.
It is so difficult to, day in and day out, hear these incredibly painful stories of the destructive nature of our broken immigration system.
I once made the mistake of writing a story with David Corbett. The man smoked me. He can delineate the character and personality of an accordion in three strokes. I didn't even know accordions had character. This act of generosity and wisdom from a very good writer will help anyone who is staring at a blank page, any day, any time. Highly recommended.
The world was more than a place. Life was more than an event. It was all one thing, and that thing was: story.
It is not the fault of the entrepreneurs that the consumers,the people, the common man,prefer liquor to Bibles and detective stories to serious books, and that governments prefer guns to butter. The entrepreneur does not make greater profits in selling bad things than in selling good things. His profits are the greater the better he succeeds in providing the consumers with those things they ask for most intensely.
I can't help seeing 'Waste Land' as the third in a triptych with my earlier films 'Devil's Playground' and 'Blindsight,' and not least in the awe and gratitude I feel for the group of people who were courageous enough to share their stories with us - and to live lives so rich in inspiration for us all.
Some documentaries are made by people who are driven more by one particular story, or have different backgrounds or ambitions, but I'm always looking for projects that let me be the best filmmaker I can be, and to be stretched and grow further.
With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.
I want you to be with someone who really, really loves you. A wild love! A crazy love! I want yours to be the greatest love story of all time!
My job is to tell good stories, convey meanings, invoke emotion as well as I can. I'd rather be doing that than anything else.
I completely agree that place is the most emotionally resonant aspect of a story. Our environment affects us every bit as much as our relationships with other people. I love work that recognizes that.
I'm still getting to the good part / the breaking down / learning how to write my story.
The short story is so much about inevitability and this feeling that things always had to be this one way, and I wanted the apocalypses to blow that idea apart. I hope it feels that way. I hope the book invites people to read the stories in order and then, if they feel like it, maybe not read them in order the next time.