Subversive Storytelling Quotes

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

Good genre movies are a little bit like trying to write a haiku. There are certain things that you have to do to fulfill the audience's expectations, but inside that, you have complete freedom to talk about whatever you want. Who wants to see a movie about gun violence in America and class? But, if you set it in this terrifying, fun, roller coaster ride of a movie, you can talk about whatever you want. That's been the game that genre movies play, when they do it well.

I'm working on 'Buffy: Deep Space Nine'. It will be dark and badly received.

I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact, it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath, there is a hidden theme.

Science fiction at its best should be crazy and dangerous, not sane and safe.

In 'Deadpool,' we stayed far away from the shiny, clean X-Men world. It's really the seedy underbelly of what's been shown in other superhero films.

One of the things I love about the character development in 'Power' is Courtney A. Kemp's subversive use of stereotype.

All right, you're a reindeer. Here's your motivation: Your name is Rudolph, you're a freak with a red nose, and no one likes you. Then, one day, Santa picks you and you save Christmas. No, forget that part. We'll improvise. just keep it kind of loosey-goosey. You HATE Christmas! You're gonna steal it. Saving Christmas is a lousy ending, way too commercial. ACTION!

Insider can be more ludicrous. How did I ever end up [as one]? Carsick [Waters's book on hitchhiking] was on the New York Times best-seller list for five weeks. [One of the characters was] a singing asshole that does a duet with Connie Francis! Times have changed. That's mainstream, in a weird way.

To poison a nation, poison its stories. A demoralised nation tells demoralised stories to itself. Beware of the storytellers who are not fully conscious of the importance of their gifts, and who are irresponsible in the application of their art: they

The stuff we're seeing in 'Deadpool' and 'Harley Quinn' now, Plastic Man was doing in the 1940s. It's a character that was ahead of its time back then and the stories are still funny and still relevant.

Literature is a form of permanent insurrection. Its mission is to arouse, to disturb, to alarm, to keep men in a constant state of dissatisfaction with themselves.

People love a happy ending. So every episode, I will explain once again that I don't like people. And then Mal will shoot someone. Someone we like. And their puppy.

Mike Leigh and Ken Loach are the people I look up to. They are quality film-makers making interesting, controversial, ground-breaking movies with very little eye on the marketplace.

Only when my 'Punktown'-based stories began seeing print did I demonstrate my proclivity for blurring the borders between horror, science fiction, and other genres.

Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.

Most comics give you what you want. I give you what you need.

Movies by Carlos Saura and others had ghosts, memories from the past, that they used to make a political point. Things you couldn't talk about openly, you could speak of through ghosts.

What I've always been most interested in is exposing the way stories and fantasies reconstitute our everyday reality. What appears to be non-fiction is not only totally mysterious, unfathomable, and strange when you really look at what it is.

Being called a 'bad citizen' is a compliment to a novelist, at least to my mind. That's exactly what we ought to do.

That was the beauty of 'Twin Peaks.' The young people had just as deep of storylines as the older generation in town.

If you watch my movie, you understand I am perverse and weird and angry and not looking to direct a film that ends with a bunch of teenagers exploding into glitter.

Audiences will see what they want to see. Some will come out, hopefully enjoying two hours of action. Some people will find themselves gravitating towards the emotional dilemma that the characters find themselves in. Other people will see that there is some layer of subversions to the storytelling aspect of poking a finger of judgment at certain governments to the idea of foreign invasion, others maybe false pretenses.

I want to do stories that are about the bits of cultural furniture that are sitting there that we're like, 'Oh yeah, that's been there for years! What could possibly be weird about it?' And then we're going to lift that piece of furniture and look at all the bugs scurry away.

I would like to do more millennial, Latina, complicated stories.