Multifaceted Storytelling Quotes

One hopes that each piece contains enough space for several narratives.

Not for Moorcock the painful, infrequent excretion of dry little novels like so many rabbit pellets; his is the grand, messy fluxitself, in all its heroic vulgarity, its unquenchable optimism, its enthusiasm for the inexhaustible variousness of things.

At the time, I used to say, "We should market this like Everybody Loves Raymond. It's just a guy dealing with his family." Instead, it was irresistible to show all these funny people. So, I actually think this could be more inviting to a new audience because they can just watch one character, find out what's going on in his life, and then meet another character and find out what's going on in her life, and then see how it intersects the other one.

I've always been a huge fan of Patricia's [Rozema ], as a director and as a writer, and she's a friend. For me, Patricia is one of those people who can cross genre in a way that I think has been pretty incredible, if you look at her career and the versatility of her work.

When I was writing the memoir, every page was a battle with myself because I knew I had to tell the truth. That's what the memoir form demands. I also had to figure out how much of the truth do I tell, how do I make the truth as balanced as I possibly can? How do I make these people as complicated and as human and as unique and as multifaceted as I possibly can? For me, that was the way I attempted to counteract some of that criticism.

I enjoy telling these stories that I ultimately think get a disservice on a lot of network television. I enjoy getting people to change their perspective. I enjoy pushing myself into learning and understanding things from a very different point of view. It's scary to do that. It's scary to kind of put yourself in somebody else's position.

Films like 'Babel' can transcend the one point-of-view formula that has reigned for so long.

Nobody cooks using just one ingredient. Why would you write using just one flavor of story?

I love big ensemble shows where there are a lot of things going on and you have to really pay attention because there's a lot of nuanced work and universal themes are being explored.

It's always a good starting point to tell a story that has many layers.

The variety within Mann's fiction is impressive and fascinating. But Joyce is even more various and many-sided. He begins his career with a wonderful sequence of bleak studies about the ways in which human lives can go awry - in my view, Dubliners is underrated.

I think that running a studio gave me an appetite for making a lot of different kinds of movies and it's given me the opportunity to do that.

Then a person has only one tale?” No, some have two or three separate ones or more,” Fleet said. “Some people have many tales. Sometimes they are linked into one big tale, sometimes they are utterly distinct. Most people do not have one at all.

I don't believe really good plays - interesting plays, complicated plays - can mean just one thing to every single person in the audience.

Film is such an extraordinary rich medium which can handle so many different modes of operation, combining together in the same place all these extraordinary disciplines which may be executed in their own right - music, writing, picture making of all kinds, and I often feel that some filmmakers make films with one eye closed and two hands tied behind their backs.

Never again shall a single story be told as though it were the only one.

Books and novels in particular that grapple with quite a few things are difficult to explain, so I think that first line can come in a substitute for trying to form a longer sense of what the book is about.

I love crosscut parallel storytelling, like we did in Blue Valentine. I love how Alejandro González Iñárritu has done it, and Quentin Tarantino, and Francis Ford Coppola, and all the way back to D.W. Griffith - this parallel editing is an effective way to tell stories. It's like juggling, like keeping a lot of balls in the air and seeing how they come down.

I don't have any particular wish to be polemical or didactic; I don't have a 'message', but what I do thoroughly enjoy are those works of art, not necessarily in the cinema, but in the other arts as well, which have an encyclopaedic world.

I didn't want to be pigeonholed as an artist. I wanted to be able to have other stories to tell.

Let the things that happen on the stage be just as complex and yet just as simple as they are in life. For instance, people are having a meal, just having a meal, but at the same time their happiness is being created, or their lives are being smashed up.