Relatable Storytelling Quotes

It is however, difficult to make your narratives relative by yourself. A novelists' work is to provide models to make your narratives relative. If you read my novels then you may feel, "I have the same experience as this narrative", or "I have the same idea as this novel". It means that your narrative and mine sympathize, concord and resonate together.

Whether it was 'Gangs Of Wasseypur' or whether it's 'LSTCK,' the characters are real, and when you see them on screen, you can identify with them.

I always say about acting: the audience doesn't come to see you, they come to see themselves. So if you're able to give them an experience where they feel, 'Oh, my gosh, that's me, that's my story, they know!' then you've done your job.

I've still not written as well as I want to. I want to write so that the reader in Des Moines, Iowa, in Kowloon, China, in Cape Town, South Africa, can say, 'You know, that's the truth. I wasn't there, and I wasn't a six-foot black girl, but that's the truth.'

The ones I love most are the people who the flaws show. I like doing characters that we see the total person. If people get afraid to show the flaws because they think, "Oh, then nobody will like them," then you end up with a lot of products, and everybody wants to be frigging heroic all the time - not what people are trapped in every day, like your skirt being in your panties after you walk out of the bathroom. Being human. Sometimes when people are drawn to your work, they're drawn because they recognize themselves or their loved ones or their neighbor in it.

You want the audience to be in the character's shoes. The more deeply into the character's shoes the audience is, the more they're going to care about what's going on.

I can share my experiences with people, and they identify with it and sing it back to me. That's the best feeling in the world.

So many roles for women demand that you make the audience fall in love with you or sympathise with you.

The thing is, right now the films don't need to be overtly political to be about our times. We also need films that are just human, that are about people. People need that, too. It's like we need to reconnect to what it is to be human. Not just what our political situation is. That's not what I'm thinking about exclusively. Human content is needed again, as it was in the '70s. I think films were more human than they've been since then.

I'm asking the reader to suspend reality with me and entertain the idea that the person writing is not me. In order to do that well, I think, one needs to point out the artifice of the narrative. Somehow if the narrator is self-aware then it's almost more humanizing and more relatable.

I like to bring a level of vulnerability and real humanity to the characters I play when appropriate, and I feel like Dr. Culber lives pretty comfortably in that vulnerable world, but he's a professional first.

One of my beliefs as a filmmaker is that if you can make somebody laugh, you can make them listen. With laughter, you can get somebody's guard down, you can open them up to listening to you. They don't feel like they're being preached to or talked down to. I think it helps, it makes really hard to understand information a little more accessible and palatable. And at the end of the day, it makes a movie a little more fun. It doesn't feel so heavy handed.