Story Integration Quotes

Directing is creating a whole. You're able to combine different elements and create a film that is unique and true to your vision.

I loved the show Lost, in part because the writers were so nimble in how they would take things from previous episodes, that probably weren't created with any intent towards a larger narrative, and they would get woven into narratives in a really elegant and exciting way.

'Raging Bull' was just a dream to work on, but it took a lot of work to get all those fights to work right and incorporate them properly into the story.

So the city [Pittsburgh] was faced with that question of "What to do now?" because it can't turn back the clock and be what it once was. So thematically, it seemed like the perfect location for the movie. And then, it's a matter of how we get that feeling into the picture and make it a part of [Michael] Chabon's story.

In real life, people are integrated into society. That's what happens in my books as well. Minor characters don't just walk in and spout lines, they interact and have an effect on the events. It's not an isolated universe.

You can't just come up with an idea for a game and stick the drama on top. It all has to be one driving thrust.

It's not as if the stories merge to a point where you think they are your life, but you do let them in the front door and the back door, and it's okay that sometimes certain characters stay for dinner.

I try to tell a story that's good enough to win the right to integrate eternal themes into it. If it's poorly written or comes across as a sermon, then obviously you don't reach people, because they're aware that you're imposing something on a story that isn't innate to it.

We made the song a big part of the story [Sausage Party ] itself, in that it's kind of their prayer that they say every morning, because we found that just to have an arbitrary song felt too unrealistic within the reality of our talking food movie.

When you're guest-starring on another show, it really requires you to jump through hoops in a way, because you're servicing the stories of the main characters. You have to be able to portray a lot of different elements. You show up and get on board and get on their journey; you have to be flexible as to what they need for the role.

A lot of comedies fall apart because they just go from joke to joke, and the characters are all sort of being crazy off on their own.

What makes a good villain is someone who doesn't just challenge the hero but comes organically out of that character's history and circumstances.

I don't even mind playing a bimbo or a silly girl, as long as it isn't stereotyped and there's a reason for that character to be part of the story.

Something that 'Game of Thrones' always does successfully is that action sequences are never just action sequences. There's always a point of view, and you're always identifying with one person or one group of people.

I don't differentiate game design and script; it is one and only document. I think that one of the biggest problem with storytelling in games is that people tend to separate story and interactivity. Both should be conceived as one entity, each using the other.

Photography must be integrated with the story.

In theatre, you rehearse for months and then perform. That way, you're totally in-sync with your character, the other characters, and the story.

All the historical elements should feel organic to the story but not hammered down to serve a purpose.

An adventure game is nothing more than a good story set with engaging puzzles that fit seamlessly in with the story and the characters, and looks and sounds beautiful.

The writers did a great job of adapting the characters from the 'Frozen' story and implementing them into the 'Once Upon a Time' world.

If I didn't see its place in the Saga when I planned it, I probably wouldn't write it at all.

I love jokes that come out of nowhere. The ones where people look at the screen and go, 'What the Hell was that.' As long as it somehow ties back into the story, somehow.

There are several cool cross-overs between 'Blue Shift,' 'Opposing Force' and 'Half-Life.' The plots are all designed to work nicely with themselves and the observant player will catch many cross-references.

With the advent of digital imaging I made the transition from trying to figure out how to do things to creating objects, characters and the whole cloth. It kind of freed up the analytical part of my brain and I had the opportunity to use more of the creative side of my brain for how things interact with light and integrate into stories.

You know, and it really doesn't have a lot to do with the movie. That's the trick to doing a good musical is that, if you take that music number out, there's less to the movie there. You would miss it.