Walt Disney Quotes

I try to tell the best story, and the story that has some heart and some genuine terror and some social commentary and some comedy and some romance and some sex and some violence.

I think you're always afraid when you go into like a big superhero movie that it's gonna be kinda just action and you're not gonna be able to just really go to the bottom of the characters.

The stories I love the most are where the author has a lot of empathy for everyone. The author loves their characters and takes their situations really seriously, and you feel like you're just dropped into a different world.

If you are writing a story and trying to draw an audience to come and hear you tell it, it's got to in some way relate to them. Who wants to come and hear about your specific problems? It's not therapy - it's supposed to be a communal piece of entertainment.

If I watch something, I want to be wondering what is going to happen next; I want to be engaged in a way that makes me ask questions and think about how I can relate myself to the characters and the issues that are there. But if it's just fluff, and everything is spelt out, I find it difficult to concentrate.

Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.

Fortunately, our audiences are used to a kind of boredom in the theatre, and if the writer is skillful, he will flatter them into thinking: 'Why, that's us up there, and aren't we - for all our little foibles - pretty nice guys and gals?'

It is the job of the novelist to touch the reader.

I don't really approach stories to make them different from other stuff I've seen, I just try to get into the character, into his or her head. Try to make it as funny, as scary or as wild as I can so that I really like it.

If you can have heart as well as the comedy, it takes you a lot further. I think that that's what we were trying to do with 'Gigi.'

I don't think people are ever going to a place where they're like, 'I'm over stories about character and love.'

I firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.

I didn't expect to feel pathos for the villains in our show. I feel quite moved in several of our episodes; I never realized that a show like 'Motive,' which aims for a broad appeal, could have that sort of emotional impact.

The movie business is not something that can come from the brain. It really comes from the soul and the heart.

Your structure and format may not be perfect, and you may not have picked the perfect franchise, but if I pick up a script, and the characters are real, whole, complicated and come from a place of somebody who really is feeling it, that's what people remember.

As long as your storytelling and emotional depth are intact, that's what people will focus on.

I love comedy, but it's dramas that stick with me.

A lot of entertainment, and especially in a half-hour format, can be all jokes, all the time. And some of those jokes can be really, really funny, but what I respond to, as a viewers, is identification or caring about the characters.

All Shondaland shows have a level of intelligence, a level of humor, a level of pathos and human connection.

I love high concept movies, but they can only work if the source of inspiration is really human - if they're driven by pain and strong emotions. Once you connect the audience with that, then I swear you can take them on the craziest journey, and they'll come along.

When I watch a movie, someone's beauty isn't what engages me: it's what's going on internally. And I imagine it's what the audience thinks, too.

If a reader comes across a story that makes them cry, you can be sure that the writer felt every single thing that makes the reader cry.

We could make the most beautiful film in the world, but if it doesn't have a heart beating underneath it, then no one's going to be interested.

What I need, as a reader, is a character with a heart and a voice and a pulse. I need a character so vivid and so specific that she doesn't feel like fiction.

To tell you the truth, while I do enjoy the grand-scale elements, it's the personal scenes, the character moments that I really find satisfying. That's where I get to delve into the characters' minds and hearts. That's where they become living, breathing beings to me.