Story Potential Quotes

Anything would deserve a sequel if the right elements are there.

I always worry that knowing too much about a novel or a story early on in writing will close it down - it feels fatalistic in some way.

I've read a lot of really great characters in some really crappy stories, where I said, like, 'Boy I could shine here, but the story sucks.' I don't want to be part of that.

From the moment we started working on the first 'Wreck-It Ralph,' we knew there were so many possibilities with these characters.

As a cinematographer, I was always attracted to stories that have the potential to be told with as few words as possible.

I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.

It was a high-class problem burden, but it was still a burden on 'The Vampire Diaries,' in which we had this group of characters that we loved writing for so much and who had so much available story to tell.

I make films because I am endlessly fascinated by people. I'm fascinated immediately to know about the lives that are going on around me. That is what drives me. And that is because everybody matters, everybody is there to be cared about, everybody is interesting and everybody is the potential central character in a story. Judging people is not acceptable.

I actually thought 'Desperate Housewives' finished very well. I just think there's still stories to be told. I feel like I get that from fans that they weren't done watching those people's lives.

I don't want to think that the stories are finite; I want to feel that they can go on forever.

An experienced slush-pile reader doesn't need more than a few seconds to see if a story has potential. You don't need to eat all of a rotten egg to determine that it's rotten.

When you open a book,” the sentimental library posters said, “anything can happen.” This was so. A book of fiction was a bomb. It was a land mine you wanted to go off. You wanted it to blow your whole day. Unfortunately, hundreds of thousands of books were duds. They had been rusting out of everyone’s way for so long that they no longer worked. There was no way to distinguish the duds from the live mines except to throw yourself at them headlong, one by one.

Sometimes if you tell me what a story is about in just a few sentences, I can tell you if it's going to be a success.

Of, course it always cheers a news editor when a story has what we describe as 'legs' therefore it, erm, runs.

But anyone can begin. It was the part with all the promise, the potential, the things I loved. More and more, though, I was finding myself wanting to find out what happened in the end.

It doesn't matter if a character is a lawyer, a cop or a geography teacher. If there's a story in there, where the character has a passion and a fire in his belly and story to tell, then it's enough for an actor to get excited about.

There is more story in a minor character like Boba Fett than there is in all the clutter of various vampires in the Twilight franchise.

It's nice to be in a world where you're not going to exhaust storylines with potential villains.

It always staggers me when series don't use their sidekicks.

As far as I'm aware, you can't tell if something is going to be successful. Brilliant scripts often don't get picked up, and terrible ones do all the time!

For me, I look at a pilot and go, 'I see the landscape. I see the characters. I see the direction and the potential of the story.' And I also go, 'That didn't work. I could change that. Maybe that works. I don't know. We'll see.' For me, I look at it, as an actor, as what can I improve upon?

I look at a pilot and go, "I see the landscape. I see the characters. I see the direction and the potential of the story." And I also go, "That didn't work. I could change that. Maybe that works. I don't know. We'll see." For me, I look at it, as an actor, as what can I improve upon? So, to have it out there and judged solely on its own merit is really a unique experience for me.

If your subject is crime, then you know at least that you're going to have a real story. If your subject is the maturing of a college boy, you may never stumble across a story while you're telling that. But if your story is a college boy dead in his dorm room, you know there's a story in there, someplace.

I think the feeling was that 'Venture Brothers' really has something to sell in terms of a feature. 'Aqua Teen' is an element minute cartoon, and its very subversive and non sequitur and weird. We were writing the one show where we were constantly like, 'God, I wish we had another hour to tell this story.' It seemed like a natural fit.