Non-Traditional Storytelling Quotes

'Deadpool' is a quirky universe, which is all about being outside of the box, unlike a normal superhero film.

I am going to produce a movie of my own. I am not going to stick to the time-tested formulae of Hindi cinema. I want to make a film for the present generation. So there will be a lot of new faces in the film.

I find most 'rules' about how to write a 'good story' confining, and I enjoy writing stories that don't look like stories at all on the surface.

I just noticed recently that in one book after another I seem to find an excuse to find some character who, to put it idiotically simply, is allowed to talk crazy.

Independent films now, they want to give you $2 million to make it, 21 days to shoot it and they want 10 movie stars in it.

Our film industry as well as the audiences are now open to unconventional pairings and subjects, which has aided my journey greatly.

Very few people actually saw Andy's films like Chelsea Girls where he filmed seven hours, ran it on two screens, where each scene was in a different room at the Chelsea Hotel with these people he called 'Superstars" who were basically super-exhibitionists - the guy in one room high on LSD talking about masturbation, Brigid Berlin in another room playing a lesbian and shooting up people with amphetamines right through their jeans, it was all real and they were really doing it (though Brigid is now a proper lady), but you know Andy really did pre-date reality TV.

I'm not necessarily interested in telling the story of people who are super likable.

'Two' is not written in the usual style of a novel. It's a straightforward, linear narrative of my times, as I observed partition, and is told through multiple characters.

'Samurai' is not an animated show like you would normally watch on TV. We tell the stories from a different perspective - backward, very nonlinear. It treats it more seriously as an art form.

I didn't have the sensibilities of your ordinary filmmaker, let alone your ordinary African-American filmmaker. My heroes were John Waters, Pedro Almodovar, and actors that were part of that world.

I think that often times Hollywood panders to the cliches of small town life, specifically Southern small town life, and I think that this movie does the opposite.

The popularity of '2 Dope Queens' just showed there was like a hunger for new stories because we have alternative comics on our show that wouldn't normally be featured on, like, a white guy's comedy show.

I always look for a story that hasn't been told in the same way. I don't care about a lot of the usual elements people use for a quick drama boost. I want to know, for example, what happens when a man who was victimized by his father tries to be a father to a woman sixty years his senior.

Just making a movie the way 'All is Lost' had to be made was a great experience, because it was structured differently than any other film I will make for the rest of my life.

There's no traditional three act structure - or beginning, middle and end - to a family tree. By its nature, it has almost infinite different branches, or episodes, to explore in every direction.

I like to think that one of things I've done with non-fiction since the very beginning is to find new ways of telling true stories.

When the 'Seinfeld' show said it was going to be a show about nothing, everybody said it couldn't - wouldn't work. It did. 'Thor' is about something, about that character finding his destiny, but it's not doing what was expected... and yet it's doing very well.

I do not want myself to be restricted to a pigeonholed kind of filmmaker.

I want to do more new-age content, look beyond conventional cinema.

Various books revolutionised what I think about novels and showed me that they're not strict, formulaic things. 'Coming Through Slaughter' by Michael Ondaatje was one of them.

I like taking genres and subverting them. I did that with 'In the Valley of Elah.' I said, 'Okay, this is just a murder mystery. Relax.' And then, two thirds of the way through, I broke every convention of a murder mystery.

I will never do a usual film with song and dance; the character has to be important.

I'm not really interested in doing a traditional romantic comedy where everything ties up neatly.

You can't break through Hollywood formulaic points of view. I've tried, and I think I was more successful than anybody at doing it.