Quotes of All Topics . Occasions . Authors
The thing that's really cool for me about Miami Beach is you have this dichotomy between sunlight and family and happiness and innocence and then at night, darker, stranger mob conspiracy stuff sort of comes out. It seems like a storytelling engine. You can just keep writing about how those two worlds smash into each other.
My interest in Virtual Reality (VR) films began for me when I began a fellowship with MIT's Open Documentary Lab. It was a profound experience to be on MIT's campus one day a week and to enter a new world of storytelling where breaking convention and traditional methods were expected. This was deeply challenging and inspiring.
The most amazing thing for me is that every single person who sees a movie, not necessarily one of my movies, brings a whole set of unique experiences. Now, through careful manipulation and good storytelling, you can get everybody to clap at the same time, to hopefully laugh at the same time, and to be afraid at the same time.
Many fantasy novels - 'Lord of the Rings', for instance, or 'Lavondyss' by Robert Holdstock - are beautifully written. Geoff Ryman's 'The Child Garden' is exquisite and utterly beguiling. Mervyn Peake's 'Gormenghast' trilogy is an astonishing piece of multi-faceted storytelling. So quality of writing does not condemn the genre.
There have been projects out there involving my father, but they've lacked a complete understanding of his philosophies and artistry. They haven't captured the essence of his beliefs in martial arts or storytelling. The only way to get audiences to understand the depth and uniqueness of my father is to generate our own material.
I don't think 'Call Of Duty: Black Ops' sells 25 million plus copies and makes of a billion dollars because of their great storytelling. It's the multiplayer aspect of that type of game, where people get together to shoot each other and have fun. And it's very much gameplay; it's like 'Gran Turismo' or one of these racing games.
I think that, at the end of the day, I'm drawn to a certain level of ambiguous storytelling that requires hard thought and work in the same way that the 'New York Times' crossword puzzle does: Sometimes you just want to put it down or throw it out the window, but there's a real rewarding sense if you feel like you've cracked it.
There are lots of come-from-behind wins, games getting tied in the last period, teams going on to win. That, I think, tells the best story. Whether or not some teams have more grit, better chemistry, or more luck or more skill, it's still within the parameters. I think that makes for great storytelling and great interest for our fans.
We have that storytelling history in country and bluegrass and old time and folk music, blues - all those things that combine to make up the genre. It was probably storytelling before it was songwriting, as far as country music is concerned. It's fun to be a part of that and tip the hat to that. You know, and keep that tradition alive.
We like layers of character and personality in our storytelling. We like very distinctive, unique personalities interacting with each other. And I think, because there are two of us, and we're a collective, we identify with that. We call it the mastermind principle: Two minds aren't doubly better than one - they're exponentially better than one.
I love crosscut parallel storytelling, like we did in Blue Valentine. I love how Alejandro González Iñárritu has done it, and Quentin Tarantino, and Francis Ford Coppola, and all the way back to D.W. Griffith - this parallel editing is an effective way to tell stories. It's like juggling, like keeping a lot of balls in the air and seeing how they come down.
The future of narrative? Built in, part of the human template. Not going away. The future of the codex book, with pages and so forth? A platform for transmitting narratives. There are others. The scroll is coming back (Twitter is a scroll.) Short forms are returning online. Interactivity is coming back; it was always there in oral storytelling. Each form has its pluses and its minuses.
To achieve the intimacy between performer and audience in storytelling, I feel like I have to let the audience in on my emotional state, not just, "Here's a story I'm going to tell by rote, and you're just going to listen to it, because I'm such a wonderfully entertaining fellow." It's the idea of sharing enough of myself that it's not just all about, "Look at me, look at me." There's an element to it of, "You understand what I'm talking about, right? You've been in this place that I've been in," which makes it a richer experience.