Hiro Murai Quotes

That's why I love doing television because it's something that fans and viewers can sit down each week and get to know your character and get to know the show and get to know what's going on and fall in love with you all over again, like they did in previous shows.

It's the reason I love doing TV - revisiting stories and characters and the length of the story arcs.

I have always believed that television is a very strong medium to convey stories, stronger than even movies. On television, you have more scope to explore a subject as it gives you more time.

For film and theater, you know how the story starts; you know how the story ends. With TV, you don't. It's literally like living real life in character.

I like to tell stories that have beginnings, middles and ends.

I prefer to bring these to the service of story rather than to let them replace narrative.

If you create a good story that has a lot of story value... I think audiences like that. It's why they stick with the same TV show over and over.

I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.

One pleasure of working on a trilogy is watching characters warp and grow over time.

There's this thing in TV that I find hysterical where the writers and creators will ask us if you want to know what happens to your character or if you want to experience it episode by episode. In the theatre, we always know the ending; we always know where the character is going.

When the audience first sees Cooper talking into his tape recorder at the beginning of 'Twin Peaks,' I think that's the greatest introduction to a character I've seen in my career. It tells you everything about the guy right there in a few minutes as well as bringing up a whole load of questions.

It's always good to have a story arch.

The key is a good story. If you have a good story, you have enough emotional beats that you can hit.

The great thing about a trilogy is that it feels like you've got a beginning, a middle, and an end.

I go to great lengths to make certain situations feel right to the reader.

We give you characters we'd feel very comfortable judging, and then go: 'Oh yeah? Watch this'.

In the end, my reasons for moving down the timeline and introducing a new cast have more to do with keeping myself entertained, on the assumption that if I get bored, my readers are going to be even more bored.

You know, a TV show is a slow build.

All TV shows are basically part of the same storyline.

When you can have a character that the audience likes from the beginning, but then you put them in a situation where they grow - I think that gives it a lot of heart.

I'll generally write out every scene that's in the film on a couple of pieces of paper, just with a little one-line. And then I can scan it a bit and go, 'This first third of the film, generally, I'm kind of calm.' Then I might do something on one piece of paper that just relates to the energy of the character.

I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.

It's fun to grow with a character over the course of a TV series. Video games are usually a much more condensed process.

Usually, when I read something, I'm looking for the story first. And then, when I re-read it, I check every part of it to see whether every scene is necessary. You imagine yourself watching the movie, to see whether or not you're losing the through-line of the story.

Television provides the opportunity for an ongoing story - the opportunity to meld the cast and the characters and a world, and to spend more time there.