The hardest novel to write was Dinner at the Homesick Restaurant.
You can use martial arts to tell a different story. Ang Lee used martial arts in 'Crouching Tiger, Hidden Dragon' to talk about love.
I look for characters who are emotionally driven.
Whenever you listen to a piece of music, what you are actually doing is hearing the latest sentence in a very long story you’ve been listening to - all the pieces of music you’ve ever heard.
'Betsy' is one of my favorites because it is the one to which I've imposed the least clear narrative. To me, it's so much more about the feeling - desperation - than any kind of story at all. There's very little imagery or character development; it's just about a deep and desperate search for something.
I know that the emotional narrative will work in the end, and I just have to play each moment honestly even if the getting from A to B doesn't totally make sense initially.
A good mixtape didn't just gather together a bunch of love songs, but instead created an emotional narrative specific to your affection. The stories in most of my favorite collections are collected more like songs on a mixtape than, say, collected like spare change. By which I mean they are in conversation with each other and work to become larger than their parts.
When I write, I work off of a theme, an emotion, a narrative - thinking of it and then expounding on it.
When you're a writer and something difficult happens to you, one of the things involved in that is this emergence of narrative potential. And there's then a kind of self-consciousness about telling a story in which you suffered.
Our industry holds a musical perception about each emotion that we depict in our narrative. As music composers, our job is either to cater to that particular need or give it a contrast that grows on the audience in a way that it begins to sound more universal, than just obvious and expected.
I think the feature reporter often walks a very thin line between a truly human story and one that slops over into mushiness or sentimentality.
I knew that the principle objective of my film was to be a sentimental or an emotional study. What I did was kind of like subterfuge.
'Must Feed and Water' is a love story told from the point of view of 'Love' as a character.
I was trying to write an autobiography using prints and patterns that reference emotional, psychological, and personal development in my work, as a person growing up, figuring out who I was. I used fabrics to stand in for occurrences.
To hell with facts! We need stories!
Dad? Um, listen. I have kind of a crazy story for you.
What's made up in the head is the fiction. What comes out of the heart is a myth.
I like writing a body of music that has a cohesive, emotional thread through it.
Emotion in itself is not unhappiness. Only emotion plus an unhappy story is unhappiness
I don't know why 'happy' can't be a story.
I'm not interested in anything but emotionally driven stories; that's why almost all of my work is exclusively anchored by women.
Every heart is made of stories.
'Fahrenheit' was a very difficult product to sell to publishers initially because no-one believed in storytelling or emotion.
I've been wanting for some time to find a way of stylizing cinema and trying to get closer to the emotional story I was telling and get rid of all the bumph that goes with it and allow the audience a more participatory experience. It was an attempt to do all of those things and to express the idea that all these people were just performing roles in their lives.
The craft, the writing of a song, is about creating a story, a life story, a world within three minutes, but that's the frame, if you like, the picture frame. That fascinates me.
