Nancy Duarte Quotes

One of the biggest challenges we have, as business owners and people, is that we think in linear terms.

I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.

I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.

More than conventional picture books, the notebook format allows me to leap from words to images, and this free-flowing back-and-forth inspires my best work. It reflects the way I think - sometimes visually, sometimes verbally - with the pictures not there just to illustrate the text but to replace it, to tell their own story.

I understood that I was not the best director in the world nor the worst director in the world. I realized that there is a very mysterious element to what works and what doesn't work in the theater. And it's good to know that from the beginning.

I make work a bit like how you mix cocktails - with ingredients like budget, history and location.

If anything, Powerpoint, if used well, would ideally reflect the way we think.

We talked a lot about The Best Intentions and how we could shoot certain scenes in different ways with slightly different bits of dialogue and information, so that later on, we could cut the piece more easily and it would still feel complete, even though it was shorter.

We live in a time where there's a required instant gratification from audiences. That's a fun challenge in terms of putting together this teaser, picking and choosing how much you're actually giving away.

Making television is difficult. Making any art is difficult.

You can make a film in a way that, when the audience leaves the theater, they leave with certain answers in their head. But when you leave them with answers, you interrupt the process of thinking. If, instead, you raise questions about the themes and the story, this means that the audience is on its way to start thinking.

Vision isn't a template in PowerPoint.

Part of the job is knowing how to use this medium in the most effective way for the story you're telling, so for me, to pick a genre I want to do is a little harder. I would say it's more about thinking, 'What genre will work for what kind of story?' And then, when all of that comes, I embrace it and run with it.

I love cinema and creating new things, but essentially, I am creating all this because I want people to see it.

'The Missing Picture' came together slowly, after much provocation and by refusing different forms, until I finally found the right form.

We always set out to just make a great movie.

I enjoy the process of adding elaboration into games and like to communicate with users through the details I create.

I know that I put a lot into 'Hereditary', and I'm proud of what it is. Beyond the fact that the film takes its time and asks for a certain amount of patience from the audience - and I hope it rewards that patience by the end - I know that I'm something of an aesthete. I care about aesthetics, and I love filmmaking.

I usually like to introduce the film and the music with the opening titles. It's a great help for a composer to bring the audience into the work that we're going into.

I make films to explore concepts and raise questions, not tell the audience what to think.

I suppose on the filmmaking side, you can learn how to cram a lot into a small space. But I think that advertising, even on what is called the creative side, is incredibly easy if you have that kind of mind. A lot of people regard it as Machiavellian and dangerous, but, in fact, it is morally neutral.

There are constant challenges in the drawing process, especially in a period piece, and therein lay the fun.

When I make a film, the yardstick is my mind. If I laugh at the jokes and feel sad at the serious undersides, then the subject works.

At the end of the day everyone has his own style of making a film and add the kind of ingredients which he feels would be good enough to entice audiences.

When you're first starting a show, any show, you learn what works and what doesn't work, and it's a kind of trial and error thing.