Story Connection Quotes

So I'm not really quite sure what Landis' plans were to make another one. The American Werewolf in Paris was a completely separate story.

You need to be invested in what happens. The characters are your conduit to the story. Many modern horror films are fun but not frightening because one has not connected with the characters.

First you wonder if they're separate stories, but no, they're not, they're contingent stories and they form a pattern. And you begin with some of the island as the place to which the heroine of the book returns.

A second book that makes you rethink the first book is the Holy Grail of a series.

If you are writing a story and trying to draw an audience to come and hear you tell it, it's got to in some way relate to them. Who wants to come and hear about your specific problems? It's not therapy - it's supposed to be a communal piece of entertainment.

I project myself so deeply into the characters in novels that I'm not thinking about my own life.

Maybe because I'm a child of the '80s, but for me, a sequel is a story that follows the previous one, and sometimes if you haven't seen the original, then you don't understand the second one. Like 'Back to the Future 2.' If you haven't seen the first one, you're not going to get anything out of 'Back to the Future 2.'

When you write stories linking reality to a big storyline, people relate to it better.

The director of 500 Days of Summer is doing the Spider-Man movie. That's not necessarily the movies I want to make, but it's all about the story, and if you connect to the story, and you feel you can tell that story better than anyone else, then great. Jon Favreau killed Iron Man, I loved it.

I liked playing video games because I felt like I was inside of the story in a way that I didn't feel when I was just watching something. Any chance I could get to step into the shoes of another person, I would take. I couldn't get enough of stories.

Words are alive--when I've found a story that I love, I read it again and again, like playing a favorite song over and over. Reading isn't passive--I enter the story with the characters, breathe their air, feel their frustrations, scream at them to stop when they're about to do something stupid, cry with them, laugh with them. Reading for me, is spending time with a friend. A book is a friend. You can never have too many.

I think Peter Jackson and Philippa Boyens have very carefully plotted 'The Hobbit' out so that it does feel like the starting point for 'The Lord of the Rings.'

That's why I think the 'Scarpetta' series has worked so well because people like spending time with this character.

What makes a story is how well it manages to connect with the reader, the visceral effect it has.

You'll read a script, and it'll grab me, or it won't.

In the end, what's any good reader really hoping for? That spark. That spell. That journey.

To read a character I'm not sympathizing with is generally quite a good, attractive proposition because I've got somewhere to go, I've got work to do, to try to understand why they behave like they behave, to relate entirely and understand them and to be completely emotionally connected. That is much more fun 99 percent of the time.

In The Name of the King is the right title. To be honest, I don't know who had the final idea for the title but I liked it and it has a strong connection to the movie's story.

Animation is the one type of movie that really does play for the entire audience. Our challenge is to make stories that connect for kids and adults.

When I read the script of 'Karu,' there was a spark within, and I instantly connected with the story. I was emotionally attached to the story. After we finished shooting, I was so attached to the kid who played my daughter, I wanted to adopt her. That's how strong my emotional attachment was with the role and the story.

You want to feel that your reader does identify with the characters so that there's a real entry into the story - that some quality speaks to the individual.

Don’t try to write a novel. Write short stories and then figure out how to connect them.

Readers prefer a world they can relate to.

When you don't have a main character that's flawed, I don't know how you relate to that person.

I like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.