Danielle Rose Russell Quotes

People have to respond to the characters and respond to the situations that they're in. That said, it still has to be a compelling narrative that drives along and keeps people coming back week after week. So really, with any successful show you could name, there has to be a mysterious blend of both of those.

In film and theater, you know the story and the journey from beginning to end, but with TV, you can keep peeling away layers and exploring a new world each week.

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.

You have to think about storytelling over the long haul: what is going to engage an audience for, potentially, years and how characters can become deeply involving for an audience.

What I have learned from working on those great shows is what is the DNA that makes them so deeply involving and interesting for an audience over a long period of time. So much has to do with character, complexity, and sophistication.

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.

In the 'Buffy' room, it was never about a plot twist, ever. It was always about, 'Tell the story, tell the characters, complicate their lives, make things get worse,' but we never worked backwards from the plot, and it was always a great lesson.

A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.

It was unpredictable, good storytelling that brought you back each week.

Both 'Where'd You Go, Bernadette' and my first novel, 'This One is Mine,' are pretty complex on a story level, and fun reads as a result.

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.

As a writer, I try to appeal to the 'elusive boy audience' the same way I try to appeal to everyone: I do the very best I can to create interesting characters, addictive plots, tons of conflict, believable settings, unexpected plot twists, intriguing beginnings, and satisfying endings.

Television lets audiences deeply connect with characters.

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.

My job is to help the functioning of the story, not to draw attention to myself, but to make my characters function within the story, to work for the benefit of the story, to make the whole thing work.

Settings are obviously important - and as a writer, you have to respect what was real at the time of the story you're writing. But the real key to success lies in finding the right characters to carry that story.

You can't visit readers where you think they are. You have to invite them home to where you are and try to lure them into your universe. That's the art of storytelling.

Well, for people who want to write best sellers, the best advice I can give is to say that the novel has to engage the reader emotionally.

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

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

It's exciting that you've got an entire season to experience 24 hours of highly dramatically charged human experience. It allows for the close inspection of minutiae in behaviour.

And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.

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

As an actor, I think a mistake that any storyteller can make is to play the ending.