Storytelling Evolution Quotes

Storytelling is always evolving, but if you allow people with new voices and perspectives to come in, you open audiences up to different walks of life.

There was a time before I felt I was a real writer, when I was a yarn spinner and I just wanted to tell story until it was over. But then there came a time where I was like, 'No, I want to understand something through writing this that I might have not understood before. I want people to come away with something to think about.'

I think, as a director, it's always worth pushing yourself and finding out new areas and exploring new ways to tell story.

Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life.

I don't know if I'd mastered that documentary format, but I wanted to move on from it.

I love my genre films, but I think when I get older, the way I tell it will be very different to how I told it when I was in my mid-twenties, which is how old I was when I made the first 'Saw.'

I am thoroughly tired of the fable style of narrative and shall do my best to get up something entirely different and possibly little more worthy.

I just like the process of taking something written on a sheet of paper and giving it life and shape. I like the collaborative process of filmmaking, which is all simply to say that I love my work and I would continue to look for things that have the potential to be engaging and successful.

I wrote 'Time of the Dark' in 1978 and 'The Silent Tower' in 1984, so the thing that sticks out for me is how totally technology has changed. I suppose that's the great peril for real-world crossovers.

With every film, I try and give the audiences a little more than the previous film in terms of comedy, action, drama and so on.

When I began to think about the head of the family, the storyteller, the rise of television which became the new storyteller, the break-up of the American family as an idea and then Avalon came.

You are - all your experience just kind of accumulates, and the novel takes a richness of its own simply because it has the weight of all those years that one's put into it.

I think there is a lot of technology that is finding its way into our storytelling - it's pretty unavoidable.

Fiction does not spring into the world fully grown, like Athena. It is the process of writing and rewriting that makes a fiction original, if not profound.

Hollywood has definitely grown, in embracing the inclusion of Latinos in the world, because, for some time, we didn't exist. We were not part of any stories.

Every filmmaker knows that when you make a book into a movie, the first thing you have to do is kill the book, unfortunately. You've got to recreate it.

Studios and networks who ignore either shift - whether the increasing sophistication of storytelling, or the constantly shifting sands of technological advancement - will be left behind.

The modern story begun, one might say, with Edgar Allan Poe, which proceeds inexorably, like a machine destined to accomplish its mission with the maximum economy of means.

I did not know at first that it would be a series; I discovered after the first novel that I had more to say about it, so I did another. And another, and then the readers demanded yet more.

We began to do little things, have little scenes where we just talked about things that had nothing to do with the plot. In fact, in the beginning, they didn't want us to do that. But as time went on, you see that in so many shows. I think we were the first to do that.

Some after-the-fact storytelling is inevitable, and, in fact, very good and useful. But then we want always to be able to enrich the stories, or maybe change the stories with a fresh infusion of specificity.

I've taken the experiences that I've had in the theatre and applied them to film and television and now games.

I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.

I think that's a really important role that people sometimes forget about, especially with all these newspaper shutting down and having trouble, where are all these stories going to go? I think you have something really great with all those stories waiting to be told, but I just don't know how it shapes up exactly. I don't think there are going to be a lot of newspaper reporters sitting around not writing.

Fantasy is, of course, booming, and I think it's beginning to stretch its range as well.