Dynamic Storytelling Quotes

The performances in the future would be like an audience wired to somebody who was sort of instigating, and then moment-to-moment creation would be transmuted individually.

One of the reasons I moved away from painting was because I eventually discovered that I wanted to deal more with motion, time, and performance - and that became a much bigger part of my life both as an actor and as a musician and someone who goes on stage and travels around the world and works on productions.

You know Seth and Evan, they were lead writers for 'Pineapple Express', and they are great at mixing things up. Taking different genres and mish-mashing them up to create something dynamically new. They'll throw comedy at you, but with a dash of horror and fright that is supposed to make you shocked and scared.

I think that you can treat a classic like a museum piece -stuffed and mounted- or you can make it a living, breathing narrative that is unfolding right then and there.

Pace is crucial. Fine writing isn't enough. Writing students can be great at producing a single page of well-crafted prose; what they sometimes lack is the ability to take the reader on a journey, with all the changes of terrain, speed and mood that a long journey involves. Again, I find that looking at films can help. Most novels will want to move close, linger, move back, move on, in pretty cinematic ways.

I tell everyone a different story. That way nothing's ever boring, even when they turn and say goodbye.

Things can change on a daily basis in television. You can be introduced to aspects of your character that you had no idea existed because they didn't exist a week before. The next week it might be taken away from you in some way that you can't control.

There are no dull subjects. There are only dull writers.

'Guild Wars 2' is a wider world in that we have a lot of different mechanics available for storytelling. We have our personal story, the story of you, which is tailored for your character. You answer some basic questions; you make some decisions early on, and that follows through.

There is a natural progression to 'Lost,' and as the story goes forward, it's going to change. It's not a static story. The franchise of 'Lost' is not characters sitting on a beach.

Change is fundamental in story. If things go static, stories die.

And also, I'm most comfortable with like two people just sitting and talking about their feeling, you know, in a room with like two cameras and that's it. And I wanted to do something where there was like action and running and you know crowd scenes and big set pieces and certainly did a lot of that, so yeah.

What I really want to do is produce. There isn’t much patience with a slow developing story line anymore.

I like films that have a kind of vivacity about them.

TV is all about speed. TV is fast and furious. It's gunslinger territory.

I'm interested in making something that moves quickly, that hopefully is compelling minute-by-minute but really packed densely with exploration. I'm very interested in how re-visitable we can make films. If we can get them closer to a music album, then it's not such an arduous process to revisit, and exploration can be a bit more cryptic.

The most important thing in games isn't the designer's narrative, but the story the player creates through his experiences.

One thing that I love about 'Difficult People' is that Julie Klausner and our showrunner, Scott King, have written the lead character I play as a fully formed man.

The audience has a level of control, when you watch 'Invisible,' that nothing in 2D can give you. The overall climax of the series will work no matter how you get there, and the climax of each episode will work no matter how you get there, but no two viewings of an episode will ever be the same.

People will always want more immersive ways to express themselves. So if you go back ten years ago on the internet, most of what people shared and consumed was text. Now a lot of it is photos. I think, going forward, a lot of it is going to be videos, getting richer and richer.

Watching live actors onstage, in something that changes night by night, real people picking up cues from each other, it concentrates you on the process rather than the result.

The fairy tale is in a perpetual state of becoming and alteration. To keep to one version or one translation alone is to put robin redbreast in a cage.

All of my films I've made have had an element of physicality and action but I really enjoy the drama of it because it's where I feel I'm really doing something.

Once I'd worked out that I couldn't possibly expect people to enjoy a monstrous, 3000-page book, I realised I could in fact create a labyrinth of a story with four different points of entry. But what interested me was creating something that would rearrange itself every time you read one of the other books. So depending on which order you read them, the implications and angles would change. To get that right, each one of the books had to have its own personality and texture -- even though they are connected, they are very different creatures.

I always wanted to give people the more exciting version of what I think a comedian should be - because I didn't grow up with comics, I grew up with rock 'n' roll. And when I saw a lot of comics, no matter how good they might have been material-wise, I would get a little bored with them after 10 minutes, only because I feel comedians don't really know performance.