Compelling Story Quotes

You can't plan for people to like your movies. I knew that people were not going to run in droves to the theater for the 'In the Valley of Elah.' I knew they might not want to see it, but I still had to the movie; I felt very strongly about it. Wanting to keep telling a good story is what you want to do, a compelling story.

I think a writer's first job is to entertain, even in novels: to tell a compelling story that pulls the reader along toward an end. At the same time, the best stories are character-driven.

You'd have to be an idiot to say no to 'Hunger Games.'

'Lost' is about a bunch of people stranded on an island. It's compelling, but kind of tiny. But what sustains you are the characters.

The real problem is arranging that experience in a way that tells a story, which is just incredible enough to be interesting, but credible enough to be believed.

'Divergent' was my utopian world. I mean, that wasn't the plan. I never even set out to write dystopian fiction, that's just what I had when I was finished. At the beginning, I was just writing about a place I found interesting and a character with a compelling story, and as I began to build the world, I realized that it was my utopia.

The heart of Dragon's Lair has always been its compelling story. With Dragon's Lair 3D, we think the team has really created an interactive animated movie.

Everything you could want - action, suspense, character and setting, all floating on the easy lyricism of a fine writer at the top of his game.

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.

Luck took me right out of myself - I read it in one gulp, and it never let me down. Sharp and surprising but always responsible, no tricks for tricks' sake; so satisfying, with its shifting and puzzles. So much fiction turns out to be diversion, in spite of fancy claims, and doesn't really look at anything. Well - this does.

I think Spider-Man [film], the first one particularly, really figured out the formula of, "Oh, tell the story that they told in the comic. It was compelling. That's why it's iconic."

THE THREE is really wonderful. A mix of Michael Crichton and Shirley Jackson, hard to put down and vastly entertaining.

What should be driving the conversation is: What's the story? What's the movie about? Is it a compelling story? And if it is, then you make it regardless of the color of the people behind or in front of the camera.

Breathtakingly real and utterly compelling, Immoral dishes up page-turning psychological suspense while treating us lucky readers to some of the most literate and stylish writing you'll find anywhere today.

Every movie has three things you have to do - you have to have a compelling story that keeps people on the edge of their seats; you have to populate that story with memorable and appealing characters; and you have to put that story and those characters in a believable world. Those three things are so vitally important.

I look for characters that interest me, and a story that keeps me involved and makes me want to know what happens next.

You have to do three things really well to make a successful film. You have to tell a compelling story that has a story that is unpredictable, that keeps people on the edge of their seat where they can't wait to see what happens next. You then populate that story with really memorable and appealing characters. And then, you put that story and those characters in a believable world, not realistic but believable for the story that you're telling.

There are few joys to compare with the telling of a well-told tale.

Steve Yarbrough is a masterful storyteller-one of our finest-and Safe from the Neighbors is a masterpiece. . . . This is a spellbinding, powerful novel.

Natalie Bakopoulos has that rare gift, the ability to imagine a traumatic historical event in the form of individual lives and ordinary details. The Green Shore is compelling, personal, and full of quietly real moments.

Comedy, drama, Westerns, sci-fi... it's all fine if the story's compelling and the character is interesting to me. I do like action a lot.

Every once in a while, a book so possesses me that I happily give up a couple of consecutive nights of sleep - as well as the evening news broadcasts and latenight talk shows - to finish it. That's what happened when I opened the novel 'Shadow Tag' by Louise Erdrich.

I see a lot of scripts, and very few of them leap off the page at you.

The first rule is you have to create a reality that makes the reader want to come back and see what happens next. The way I tried to do it, I'd create characters that the reader could instantly recognize, and hopefully bond with, and put them through situations that keep the reader on the edge of their seat.

Every now and again, a script comes along that you just can't put down, and 'Deep State' is exactly that - a great example of the best kind of writing.