Palmer Luckey Quotes

Tribeca has always celebrated the most exciting new forms of storytelling, from video games to virtual reality.

For me, drama is conflict.

For me, all drama is based on conflict.

I think that internal conflict works very well, because, after all, all the best drama is fuelled by conflict.

On occasion, a well-constructed drama can do what no reality or news program can do, what Shakespeare does brilliantly, is it can show both sides' opinions.

Virtual reality's been around for 40 years. People have been talking about storytelling in that world for all these years, and there have been experiments around of people trying to do that, and always excited about it.

Who knows what form storytelling will take in the future?

Sometimes we don't want the bad guy to get caught because otherwise the story is over. You want to at least see it through to the end.

I don't care if it's a mystery story, a Western, or the story of Julius Caesar. To me it's the emotion, the lies, the double-cross, whether it's Brutus doing it to Caesar or Bob Stack doing it to Robert Ryan that defines what kind of drama it is.

I think a little menace is fine to have in a story. For one thing, it's good for the circulation.

A writer's job is to cultivate what can go wrong. You're always looking for that dramatic arc of where things can fail.

You can't tell a good story without conflict - the story can't be beautiful or meaningful. We're taught to run from conflict, and it's robbing us of some really good stories.

Good stories must travel through conflict. And in epic stories, the conflict must become unbearable.

Because everything up to now is a story and everything after now is a story.

Every scene should be able to answer three questions: "Who wants what from whom? What happens if they don't get it? Why now?"

I think a myth is created from truth.

My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.

Meaningful stories have lots and lots of conflict. If we avoid conflict, our stories won't be meaningful.

But after all, the villains are the salt in the soup of a story.

Forget narrative, backstory, characterisation, exposition, all of that. Just make the audience want to know what happens next.

I just always try to find an interesting story and tell it well. That's a hard enough thing to do, whether it's a piece of fiction or it's a small piece of reality. I just look for good story.

It's one thing to not want an evil-sorcerer type villain in your story, but it's another thing to avoid having any sort of antagonist at all. A story without an antagonist gets weird pretty quick.

I think you gotta have some humor [in your story]. People gotta have a moment to laugh and feel that it's not taken 100% serious. That's important.

If I really knew how to do good storytelling, I would be a writer. Mystery is not a huge part of it. ... It's tension, it's relationships. I think it's a struggle.

Get to know your characters as well as you can let there be something at stake, and then let the chips fall where they may.