Innovative Storytelling Quotes

Right out of school, I did this show called 'Natasha, Pierre & the Great Comet of 1812.' It is based on a classical text with new music - not necessarily confined by a certain genre. It was a diverse, interesting group of musicians, actors, nonactors, and singers all creating this thing that is bigger than all of us.

I knew David Lynch going to television was going to be something. It was either going to not work, nobody was going to get it and it would disappear, or it was going to be something special and really stand out.

There are certain ways, narrative forms, that do not function as a continuation, for example, of 3D movies. You see, what is obvious to me is virtual reality or immersive 360 degrees virtual reality is not somehow a part of 3D movies, and it is not a new form of video games, it's neither, it is something completely new, something different, and nobody has come up yet with real convincing content.

I definitely think independent film is very exciting, and you get to sometimes take bigger risks. So that's always a challenge and something that I look forward to.

I've tried to create a comedy that doesn't look like any other comedy. Maybe traditionally in TV there has been a kind of formula that says, 'Oh, comedy has to look this way; it has to look super bright.' But the way we shoot 'Insecure' is motivated by the mental state of each of our characters.

I would always rather shoot for something unique and fail than do a script because I feel like they're hitting all the right mainstream beats.

Working with Thiagarajan Kumararaja in 'Super Deluxe' was absolutely mind-blowing.

Nadunisi Naaigal' is new age Tamil cinema. I have tried to break the rules of regular cinema with this film.

The important thing is not what we write but how we write, and in my opinion the modern writer must be an adventurer above all, willing to take every risk, and be prepared to founder in his effort if need be. In other words we must write dangerously

The movies I make and my interests are always about pushing the technology as far as we can in support of telling great stories and showing an audience things they haven't seen before.

Tarkovsky for me is the greatest [director], the one who invented a new language, true to the nature of film, as it captures life as a reflection, life as a dream.

Beware of clichés. Not just the ­clichés that Martin Amis is at war with. There are clichés of response as well as expression. There are clichés of observation and of thought - even of conception. Many novels, even quite a few adequately written ones, are ­clichés of form which conform to clichés of expectation.

I think it's good news that cable television is so, so supportive of the Louis C.K.s, the Lena Dunhams, the Matthew Weiners, and the Vince Gilligans. There's just so many people fearlessly making their stuff, you know?

What I'm definitely against is the plodding, paint-by-numbers 19th-century-style novel that's still being written today. I just don't understand why you'd read or write that in 2011.

Our cinema is coming of age, and people are realizing we need to tell different stories differently and in fresh manner and not just do formula stuff and serve it to the audience.

'Blood Money' was a stand-alone film, but we worked double for it. We realised how difficult it is to sensitise people to anything new, especially when you don't have a star.

For years, I have been inspired by the inventive and masterful storytelling of the 'SAO' franchise. I'm thrilled to get the opportunity to work with such talented partners to bring this cutting-edge yet timeless story to a new format at Skydance.

Snoop is a tour de force! It’s one of the smartest and most original books I’ve come across in a long time. I devoured it and then rushed over to clean up my desk and change my iPod playlist.

I want the 'Roots' biopic to be animated - I see Charles Schulz drawing us. I think it would be more hilarious with the voices of children.

The cool thing about those small-budget movies is that there's a tremendous amount of freedom the filmmakers have since there's less money at stake.

The Simpsons was pretty experimental at the time, but it attracted a lot of sitcom writers that felt confined by the limitations of live-action sitcoms in the '80s.

I believe that movies are fast becoming antique and dinosauric as a medium. Film is a medium for the over-40s and television has gone the same way. If you're going to look towards the new generation, then of course you're going to have to be a lot more random, spontaneous, irreverent and provocative with your programming.

I think Lena Dunham is a very bright and very interesting writer, and what she's accomplished at such a young age absolutely impresses me.

When he came to television, there was no way I wasn't going to watch. Of course, he delivered everything that you would expect David Lynch to deliver, and more, and he was doing it in primetime network television. Even as a 14-year old, I wanted someone in the room with me that I could look over and say, 'Can you believe we're watching this?'

I don't want to direct a movie as good as Antonioni, or Kubrick, or Polanski, or whoever. I want it to be my own. I think I've got the seed of it and, what's more, that I can make movies that are different and informed by my taste.