Simone Giertz Quotes

I don't have a style. I just try to write what the story demands.

There are fewer established rules in the way you tell a story for commercials than in features. It's a great little short story you get to play with.

The technology we have available is not being used, and we don't have to tell stories in a line anymore. We can tell them in the shape of a tree. I can't stand to see it not happen, and I'm going to make it happen.

It takes great skill to tell a compelling story in under 60 seconds. These five directors have mastered the format, using their talent, craft and imagination to provide us with some of the most innovative filmmaking out there today.

It's not the style that motivates me, as much as an attitude of openness that I have when I go into a project.

The video maker doesn't easily face a blank page. Because the videomaker can run it either any way, this way or the other way and erase it if they don't like it and so on.

I think you should make movies as long as the story dictates.

Writing is writing to me. I'm incapable of saying no to any writing job, so I've done everything - historical fiction, myths, fairy tales, anything that anybody expresses any interest in me writing, I'll write. It's the same reason I used to read as a child: I like going somewhere else and being someone else.

In a film you only get two hours to do this big arc and so you have to pick and choose your moments carefully, but with television you get to take your time and just take it episode by episode and discover new things.

It's amazing what you can do without in terms of filmmaking when a story is really important.

Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.

You can have ambiguity in television that you are not allowed in film... at least in Hollywood studio films.

I'm not like J.K. Rowling, where I know there's going to be this number of seasons, and I know exactly what's going to happen. I would be so bored if that was the case. There would be no journey. There would be nothing to discover.

'The Names' is planned as a nine-part series. I have a kind of road map: I know the final scene of episode nine. But as to exactly how we get there, what detours or horrible accidents we might have to pass through, I like to keep that a little fluid.

You need to be open and explore while heading where you want to go. You can never be too in love with your own ideas. If you can remember every idea that is yours in a script, as opposed to someone else's, then something is wrong.

The greatest thing that you have when you're a showrunner is this opportunity to create worlds.

In TV, I did scripts that were not well-written, and I learned how to make bad material okay. That's a hard thing to do; you can learn bad habits, but you can also learn to find something in anything.

I started in documentaries, and that was a great help to me with improvisation, because with documentaries, you're handed a big lump of footage, and you have to shape it and make it into a story - which I love doing.

You can be imaginative, you have the technology to convert your vision, you have the freedom to write the kind of stories you want to tell beyond the set formulas. Also, you have varied platforms to tell different kinds of stories.

I'm a slave to my imagination in terms of making narrative films.

If you’re too rigid in your thinking you may miss some wonderful opportunities for storytelling.

As a director and filmmaker, I love creating my own opportunity, and getting to share the love, in that way, by creating other opportunities for people that I admire, so that they can do something in a way they haven't done it before.

We [with Neal Dodson and Corey Moosa] wanted to draw people in with a dialogue - whether it's a creative process or a social issue or innovation of some kind; whether it was how we told the stories or what stories we told. We produced some online videos.

It is much easier to be flexible about where a story begins than it ever was for me to change my mind about where and how a story ended.

To me, there are lots of different stories to tell and you usually find the best way to tell the one you are telling once you are in it.