Tim Story Quotes

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

I don't have a favorite genre. I love to work and live vicariously through every character. It's all about trying to bring the character to life and get the story across in a way that resonates with the audience. It's always interesting and challenging in a gratifying and unique way.

A whole film is just about arriving at a moment where you hopefully transfer some feeling to the audience.

I write books that will make 10 or 12 hours disappear, and hopefully they'll resonate with you for a few days, where you'll remember the characters and the story. That suits me fine; I am happy with that.

In particular, I'm drawn to the stories that have big, high concepts and real characters at their heart. And I love where those two worlds meet, and 'Edge of Tomorrow' is the perfect canvas to explore that.

If you're not connected emotionally to a story, then you're dead. You're really just opening the door for people to lose interest and their minds to wander, for them to start picking it apart.

I think, for a love story, the most important element is the music, since you don't have action sequences or item numbers. It really draws in the audience and adds to at least 70 percent of the opening of the movie.

What I've realized is that a film operates both on the intellectual and emotional levels, and if you can find a way to tell a riveting story and draw ideas out of that, it's very powerful.

I think that you have to keep the reader front and centre if you're going to write something that people are going to love and be entertained by.

We can't help identifying with the protagonist. It's coded in our movie-going DNA.

As a viewer, I care about people, I care about characters, I care about perspective.

With movies, you are always in search is a good story, one that everyone will relate to and love. I love finding those stories and creating a visual world to tell the story.

You can have great sequences with music, but if you don't have the acting you're bored after 15 minutes. Or not bored, but you're like, 'So what?'

I love to be a vessel through which characters can come through. And if I can move an audience with my work, then I've done my job.

If you care about the characters, then whatever scary thing happens to them, you feel it even more.

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.

I think people are getting into these 'Empire' songs because of the emotional investment they have in the characters. You kind of feel like you know the songs already because you just watched them play out in front of you with these characters.

I don't really make movies with an intention other than asking myself, 'Do I love the character, and do I love the story?'

I always put myself in the audience's seat, whether it is a film like 'Judwaa 2' or 'Badlapur.' There has to be a message; the core story needs to have a hook, which should be out of the ordinary.

We figured the audience would want good stories, great art, wonderful characters, people you could fall in love with that we would immediately put through hell.

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.

A good book or movie or screenplay should be emotionally satisfying. When they're done, you want people to breathe a deep sigh and say, 'Wow.'

Every film is a journey.

It doesn't matter which genre you're working in, you try to find an honest relationship within that space, and say if it's the romance genre, within that you have to find a story and characters that resonate with an audience.

Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene.