The biggest misconception is that I'm only a documentary filmmaker, but in fact I have made many narrative shorts. My biggest inspirations are narrative films, and that's ultimately where I see myself going next.
The museum in D.C. is really a narrative museum - the nature of a people and how you represent that story. Whereas the Studio Museum is really a contemporary art museum that happens to be about the diaspora and a particular body of contemporary artists ignored by the mainstream. The Studio Museum has championed that and brought into the mainstream. So the museums are like brothers, but different.
I do feel that scripts get developed now to a point where they're sort of actor-proof. If the actor is not very good, the narrative still survives because it's all in the dialogue. Not to say there aren't great performances in English-language films, because there are every year, but the 1970s were awash with great performances, and I was wondering whether it had to do with the amount of space and the amount of responsibility given to the actors.
Those subject to capital punishment are real human beings, with their own backgrounds and narratives. By contrast, those whose lives are or might be saved by virtue of capital punishment are mere 'statistical people.' They are both nameless and faceless, and their deaths are far less likely to be considered in moral deliberations.
One of the things that's important about family is the narrative history they create for themselves.
That's what culture is based on, the passing down of a certain narrative by imitation.
That's the definition of a mini-series. A mini-series is a show that has no continuing story or narrative elements between one group of episodes and another, so no, I wasn't surprised.
I would say that ISIS wants us to think so. And I think that's the real danger here. It's that what ISIS wants the narrative to be is that they are the true Muslims.
When Dylann Roof walked into a black church, he wanted to start a race war. We didn't let him do that because we didn't cast him as a representative of the white race. We didn't give into his narrative. We did the exact opposite. And I think that we have to be careful not to give into the apocalyptic narrative of ISIS that wants to start a war between Muslims and everybody else.
Once you play with these scenes and you're outlining it, again and again, and telling each other the narrative, and telling it to people you know, trying to make sure that the mathematics of the story work, you feel that those are in place, and the actual writing and final draft doesn't take as long.
Tone is an interesting question because part of the inspiration of looking to song is that Geisel himself - when you think about his animated version of The Grinch - embraced the idea of using songs in unconventional ways, as part of conveying a narrative. The use of music, in this film, is very unconventional, which I love.
Forget narrative, backstory, characterisation, exposition, all of that. Just make the audience want to know what happens next.
Writing a novel is an incredibly free experience. One puts one's self in a narrative mode. You can go off in any direction - the past, the future, or go laterally, or include one's own beliefs. It's total freedom.
Ghost stories are always listened to and well received in private, but pitilessly disavowed in public. For my own part, ignorant as I am of the way in which the human spirit enters the world and the way in which he goes out of it, I dare not deny the truth of many such narratives.
The close-up has no equivalent in a narrative fashioned of words. Literature is totally lacking in any working method to enable it to isolate a single vastly enlarged detail in which one face comes forward to underline a state of mind or stress the importance of a single detail in comparison with the rest. As a narrative device, the ability to vary the distance between the camera and the object may be a small thing indeed, but it makes for a notable difference between cinema and oral or written narrative, in which the distance between language and image is always the same.
I'm a little bit too obsessed with the news. I find the news easier to follow than narrative entertainment programs.
I think that there isn't a photograph in the world that has any narrative ability... They do not tell stories - they show you what something looks like. To a camera.
I don't have anything to say in any picture. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!
Classical music fulfills for me the function of narrative. I spend 90 minutes a day listening to symphonic music - Beethoven to Bartók - some chamber pieces, and that's my enrichment.
I've been told by people I respect that flashbacks only work if they have their own narrative, but they can't be part of the present narrative.
There are multiple shows of record about a late-transitioning patriarch and how the kids are affected, and there are multiple narratives. That narrative on "Keeping up with the Kardashians," the answer is, they're pretty much fine. It's the same sort of story we were telling which is, you know what? Everybody's okay.
Too many of us seem far too fond of narratives of our powerlessness, maybe because powerlessness lets us off the hook... But we don't need everyone on board; we don't need one magic person in office; we need ourselves. To act. It's the wind, not the weathervanes.
Why should there be only one sort of photography? I want to create images with elements of my choosing, narrative or evocative... I give myself a literary frame, I tell a story.
It sometimes happens that you just know... You have a feeling that things are coinciding, and that they operate and work on a number of levels - obviously visual aesthetics, but also content and narrative in terms of the bigger picture. When document and metaphor come together.
I think that if you have a strong narrative, if the idea of the song can be boiled down to the basics, it won't change that much.
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