People are trying to make decisions about whether they should vaccinate their children or not, which is still a big debate. It's something that is a true fear for people. So, when we were getting into the story, in these first few episodes, and you're seeing these people who are at the top of the CDC, they should have every answer. It's almost like a God complex.
But in the beginning, when you're looking at this and you're thinking about it, the CDC gets brought up to this place to deal with this virus and it's something that they've never seen. That, in itself, is quite frightening in a story because real-life epidemics are something that happen, all the time. I think there were just a couple of reported cases this last week in Vancouver of some people passing away with H1N1.
If my stories can touch you, make you laugh, forget unhappy things, or even give you that 'good job' feeling, then I'll be super, super happy!
Although I love all genres, I really love to play in two main arenas: Comedy and Thriller/Horror. In either genre I love playing flawed, layered characters that are actively fighting to achieve something in the story.
I played soccer growing up, and then high school came along and the football coach came out one day and was like, 'Hey, do you want to kick for us?' I was like, 'Sure, I'll come out and kick one day.' I got moved up to varsity and that's how the story began.
I think everyone should read The Girl on The Train, especially if they loved Gone Girl. It's about Rachel, a girl who sees a couple on her commute. Then one day she sees one of the people from the couple kiss another person. The next day they go missing. The story is told by 3 different perspectives, all characters you absolutely can't trust. It's an insane psychological thriller that's seriously addicting and the kind of book you can't put down.
When people open up and share their stories, you have a responsibility to tell these truths truthfully and with the same quest for grace and beauty that you see in them.
In reggae I have a model of artistic excellence and possibility that is challenging and inspiring. The poem remains a demanding thing - an object to be understood and shaped into my own sense of self, the same is true of the play, the novel, the short story. Yet, for some reason, I approach these existing genres with the kind of confidence that the reggae artist approaches any song floating around out there.
That's what we do, man, we're like storytellers. We tell you stories from the streets. Whether we did it before when we was young or we heard it from one of the homies telling us a tale of what he been through. It's all in having fun and creating a movie like vibe to tell a tale from the streets.
Being behind the camera you have control; you have the ability to make decisions for characters, for where the story line's going to go, how you want to put it out there, how you want to edit it. Acting is like where you paint on the canvas, and being behind the camera is like being either the paint or the paintbrush. They're both a part of the creative process, it's just that they have two different functions.
I think I've done a lot of movies that people would like to have seen a sequel to. But I grew up in a time when we didn't do sequels. You just did a movie because you wanted to do a movie and you wanted to tell a story. It wasn't to build a franchise.
I've never looked at my career in terms of, What haven't I done that I want to do? I just generally find a story that I think is a good one and go to work
Well, a lead is the most important thing about the story.
Some of the most important stories don't lend themselves to television treatment.
Television's not going read stories to you.
Probably my favorite job that I've ever had and probably will have - although I'm reserving judgment on Manhattan Love Story, Tuesday nights at 8:30 on ABC, because it's pretty fun so far - is Psych, which I did for four or five years.
If there's ever a character who can only serve one metaphor, I'll probably tell one story with that character and be done with it.
The metaphor is the story, not the character.
I'm a writer. I just love telling stories.
I'm not building each one character around one metaphor, so much as trying to build a heroic archetype that can be used to express the kind of metaphors that I find in each story.
The metaphors exist for the stories.
I love how my sport reaches out to people with the music and story lines, the glory of standing up for three or four minutes of tough, arduous, gravity-defying skating and all the stuff that goes with it.
In 1991, the government unleashed the power of India and created a partnership between itself and industry. As a result, India has emerged as an economic success story, and that is a matter of pride for all of us.
I would say I try to make my comedy really personal. I try to tell stories that happened to me, experiences from my life.
My stories take three or four months to fix, and it's not magical of a process. Ultimately it's a boring, difficult process. I write everything out, and then the parts I think are funny I put in bold. Then I go perform it. Then the parts that aren't funny, I unbold them.
We only hear success stories. You don't hear about the hundreds and hundreds - the overwhelming majority that don't go anywhere. This is a more realistic portrayal of what happens in startups.
My songs examine and explore little specific emotions or situations or stories... They're kitchen table songs, like a conversation between me and one other person. It's almost like an alien has been sent to get emotional samples from human beings and put it all together on a record.
You have to want to make a film for other reasons - to say something, to tell a story, to show somebody's fate - but you can't want to make a film simply for the sake of it.
For 6,000 years, these rules have been unquestionably right. And yet we break them every day. People feel that something is wrong in life. There is some kind of atmosphere that makes people now turn to other values. They want to contemplate the basic questions of life, and that is probably the real reason for wanting to tell these stories.
Our subconscious works in metaphors, stories, and word play. That's why a particular story or movie may mean more to some people than to others. Have you considered why you quest for this tale now?
The only way to build a fan base is to have a lot of material out there for readers to find. You can't manufacture a fan base. You create it, one story at a time.
I do a film because I like the story and I want to give life to a character - I don't necessarily have to agree with the director.
I am so bored with seeing stories about a mature man of 65 falling in love with a beautiful girl of 32.
Everyone of us is a wonder. Everyone of us has a story.
Some stories don't have happy endings. Even love stories. Maybe especially love stories.
I think, for me, I have to remember that I'm telling a story in some way.
Sneaking was a kind of deceit. So was disguise. Just past midnight, wearing dark trousers and Fox's hood, the queen snuck out of her own rooms and stepped into a world of stories and lies.
Our own story is even more important for us to know than history.
My biggest lesson ... was to try and create narrators that were believable. ...so the listener becomes really invested in the story or the song.
Truth is better than fiction in terms of telling the story.