My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.
There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.
Just like Hillary Clinton is against the miners, she is against the police, believe me. Those peddling, the narrative of cops as a racist force in our society have fostered the dangerous anti-police atmosphere in America.
The Democrats, because they are the media, still establish the narrative for Washington every day. And whatever that narrative is, the Republicans - for some reason (I think it's force of habit and years and years of conditioning) - still become subservient to whatever that narrative is.
I seek to widen, narrow narratives of women of color.
Poetry has always mattered, through human history, through all kinds of cultures, all kinds of violence and human desolation, as well as periods of great human affirmation. It's been associated with the power of the word, with the sacred, with magic and transformation, with the oral narratives that help a people cohere.
When writing, you can't break physical rules. You can't have people come back from the dead. That's cheating. I am a kind of narrative fundamentalist in many ways.
It's a beautiful aspect of narrative construction, hunting for the right images and metaphors to render our character's hearts/minds/souls as though they're ecosystems, full-fledged settings for a reader to inhabit like a place.
Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.
I think we all are born inside of our parents' narratives. We stay there for a good while. We are taught their narratives about everything: their marriage, the world, God, gender, identity, etcetera. Then, at some point, our own narrative develops too much integrity to live inside that story. We don't ever fully escape it, but we move into our own stories.
I think change is happening in ways we can't anticipate yet because the whole generation of viewers who are viewing films - film may not be the appropriate word in years to come. I'm excited about the possibility of new types of storytelling; that to me is less daunting. I'm excited by how we'll evolve with those formats thematically, tonally and in narrative.
The future of the codex book, with pages and so forth? A platform for transmitting narratives. There are others.
The left hemisphere acts as an "interpreter," watching the actions and behaviors of the body and assigning a coherent narrative to these events. And the left hemisphere works this way even in normal, intact brains. Hidden programs drive actions, and the left hemisphere makes justifications. This idea of retrospective storytelling suggests that we come to know our own attitudes and emotions, at least partially, by inferring them from observations of our own behavior.
Thank God for Canada! In the context of this narrative [in Underground] and beyond, Canada was certainly an additional option for the many traveling the treacherous terrain of the Underground Railroad in pursuit of what was perceived as "freedom."
Many activists don't want to hear about some grand narrative, one that could unify all of our struggles. So the major issue that needs to be addressed is how to get people to see that there is indeed a grand narrative which just happens to be true.
When people, particularly young people and especially young men, can't imagine themselves as heroes in narratives that they construct for themselves, they look to be heroes in some other way. So young men in America of, let's say, Muslim background, only a tiny, tiny minority - so small as to be almost zero - are likely to ever commit terrorist acts.
Women are presented with a very narrow aspect of the female narrative. And now we live in a culture and a time where it gets to us very quickly and very young. So how do you maintain in a child that sense of unique identity before they get thrown all that is projected on them?
I do think any modern storyteller is influenced by the stories we all grow up with and become familiar with, our shared cultural narratives.
The President, who really had been mostly managing his one-man Barack Obama narrative and journey his whole life, without executive experience, certainly - he's not a governor. Some governors, of course, they have experience in executing power, which is something fairly unique, actually, in government. And he has, neither, a set of nourishing experiences.
When media "narratives" about [Pope] Francis get set in concrete, and act as filters bending or distorting (or ignoring) aspects of his vision and his teaching that don't fit the established story line, the Church has a problem.
There's an obvious investment in some media circles in the "narrative" of "the pope who's finally going to get with it."
As a friend at a major American newspaper said to me when I complained about this tendency in his own paper, "You know how these media narratives are. They're like bamboo." Meaning, once they start growing, you can't kill them.
The most enduring of the false narratives is that the signature phrase of the early pontificate - "Who am I to judge?" - was a matter of the pope jettisoning millennia of Catholic moral teaching. It was not. It was a specific response to the circumstances of a man who had repented and was trying to live an upright life.
Then [Catholics] owe [pope] the loyalty that is expressed in speaking the truth to him - and that puts a premium on knowing whether what you're happy about, on unhappy about, has a basis in fact, or is merely a reflection of the "narrative.
When I was a child, I used to go wandering - disused railway-lines, old barns, dry-stone walls, strangely Pre-Raphaelite copses - it's much more fun to wander than to be guided, and you could do it in those days with freedom and without paranoia. In similar fashion, I try to allow the reader room to wander, even to meander, to almost lose themselves and their grip of the narrative.
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