When I started, I was 18 and really into punk rock and just wanted the action. Over the years, I've gravitated towards the travel and experience around surfing and trying to relay that feeling. Going forward, I'm interested in story-driven and personality-driven themes.
It's really, always, the story and the characters that come first, and the other things are kind of dealt with in time or, in fact, driven by the story.
I think the story should always determine the visual approach. There are situations where you want things to feel alive and like life, and there are situations that should have some magic and the separation with the grain.
The way that Lucasfilm used ILM was George never restricted his thinking to things that he knew could be executed with the tools at the time. He would write what he thought would be cool and what he wanted from a storytelling standpoint with the assumption that, 'Well, they'll figure it out!'
From the beginning, the series has been story driven - I began with a story idea - but research feeds it.
I love 'Gabriel Knight' and will always be proud of it. Despite the fact that I've done many other things, it seems to be the one thing that people remember. I hope 'Gray Matter' is as memorable.
Rahman is very very director friendly. He is ever ready to go whichever the director wants, the story wants, depending on the kind of movie or the music you want, and within that he finds his niche. It is a constantly complementary process. At the end of the day he is not pleasing you, he has to please himself.
The heart of Dragon's Lair has always been its compelling story. With Dragon's Lair 3D, we think the team has really created an interactive animated movie.
Half-Life is the finest implementation of a game on rails anybody has ever done
It's like creating an artificial loop saying, 'You didn't play the game the way I wanted you to play, so now you're punished and you're going to come back and play it again until you do what I want you to do.' In an action game, I can get that – why not? It's all about skills. But in a story-driven experience it doesn't make any sense.
Sometimes I have songs born out of stories.
For Marvel, we've never looked at any of our characters in terms of gender, race, or religion. It truly is about, who is the best character for the story? If that character happens to be a woman, fantastic.
I'm lucky enough that financially I don't have to feel obliged to go for the bigger stuff. I like the stories and scripts to dictate if I want to do them.
The story drove the book. That had a very seminal effect on the way I saw writing and storytelling. If you can set a character in a story that is compelling and has a backbone, you draw people in.
We take the R-rating on a case by case basis when the story warrants it and necessitate that rating, and shouldn't be hemmed by the rules of PG or PG-13.
The story of 'Libra Scale,' the storyline was created first, and then the music was created around the story line.
'Law and Order' is completely story-driven and completely characterless, really. If you do that format for five years and you're an actor, you're bound to get bored. It wears on you. And it was really wearing on me.
To make a film with Rajinikanth will be a dream come true for any director, and I'm not an exception. But I always believe that it's the story that should drive you. If I come up with something like that, and if the story inspires me, I would be happy to work with him.
It's much easier for me to think in terms of character movement and emotion and story rather than, 'What are some wacky hijinks we can throw together?'
I'd like to be taken in charge of as an actor, not to be abandoned with asinine dialogue and meaningless actions or stereotyped characters. I'd like to feel like I'm in a character driven story.
It's a sin for a writer to go looking for camels to put into his or her pages. I only want details that are the story.
And one thing that I always believed and that I knew for certain was that I could never have sustained a personal relationship while I worked this hard, or while I was that driven this intensely by the story.
I didn't plan to make 'Mulk' or 'Article 15.' Nor did I anticipate that 'Mulk' would be seen as a new beginning in my career. It's just that these were stories that had to be told.
Great visual effects serve story and character and in doing so, are, by their very definition, invisible.
I don't set out to write female lead shows, necessarily. I like deeply flawed characters. When they come to me, or when I'm introduced to them, I follow the stories and the people, rather than setting out to do a female lead thing.
