Boyd Holbrook Quotes

I think it's the sentence-to-sentence pleasures, the little surprises of a surprising style of an acute style, and also the way things happen one after the other, that makes a book interesting to read page to page

People are interested if you tell stories well and relevantly.

My biggest lesson ... was to try and create narrators that were believable. ...so the listener becomes really invested in the story or the song.

Language does not always have to wear a tie and lace-up shoes. The object of fiction isn't grammatical correctness but to make the reader welcome and then tell a story... To make him/her forget, whenever possible, that he/she is reading a story at all.

I find that when you open on a group of people sitting down and talking, the scene sits down with them. The best antidote for that is an entrance. Begin the scene with someone entering, and somehow it’s more interesting.

I have no policy, for or against: only a personal style. Which is to say, I use them when I think it's appropriate to; for example, an internal monologue by a locquacious and verbose narrator is more likely to be larded with adverbs than an exchange of instant messages between cops at a crime scene.

I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.

Not even the severest critics of Jeffrey Archer can deny his style.

I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.

I prefer the plain and simple sentences: the ones that you don't notice because you're so interested in what's happening to the people and events that the sentences are creating.

In 'Lost,' they really believed in the mystery box and not looking too much inside the mystery box. It was some kind of idea generator that you didn't need to dissect and open up. And that's absolutely fascinating and an engaging way to tell a story.

I follow only one rule in my writing, and that is to be interesting. If the story is interesting to you, the writer, then it will probably be interesting to somebody else.

For me, the greatest thing a movie can do is rivet you while you're watching but also give you something to chew on for days and weeks after you've seen it.

Richie' will show a very unique style of storytelling to the audiences.

We're storytellers - and if the story is told well, you go with the form.

David Lynch helped me be cool.

I grew up falling in love with music videos and those images: Hype Williams and Mark Romanek, David Fincher and Diane Martel and Paul Hunter, just from the video side. I grew up also watching a lot of independent films and foreign films.

I try to make every issue new-reader friendly. I remember being frustrated many times trying to pick up new series that were overladen with baggage. The trick is to make that backstory seem like something compelling that they will want to explore rather than an obstacle course they have to crawl through to get to the story.

Oooh, fashion, we are the goon squad and were coming to town, beep beep.

In most writers, style is a welcome, an invitation, a letting down of the drawbridge between the artist and the world. Shaw had no time for such ruses. Unlike most of his countrymen, he abominated charm, which he regarded as evidence of chronic temperamental weakness.

The thing is, with writing, it's form or content. You need to write about something interesting or you need to write about it in an interesting way.

Consider the different narrative styles within the story, and the glee with which the "moralistic narrator" celebrates Aschenbach's fall - maybe, then, this is a hostile verdict and the international fame is warranted after all (given that Mann modeled his protagonist so closely on himself, it would be quite odd if he had intended Aschenbach's literary inferiority to be a fixed part of the interpretation).

I did a good bit of episodic television directing, but directing a movie is so much more complicated. And there's so much more responsibility because the medium is very much a director's medium. Television is much more of a producer's writer's medium so a lot of the time when you're directing a television show they have a color palette on set or a visual style and dynamic that's already been predetermined and you just kind of have to follow the rules.

I wanted all the responsibility to rest on the content of the story. I tried to make the visual style almost invisible.

It is rare and almost impossible for a novel to have only one narrator.