I like the storytelling and reading the letters, the long-distance dedications.
The function of camera movement is to assist the storytelling. That's all it is. It cannot be there just to demonstrate itself.
Rhyannon Byrd has a gift for beautiful, sensual storytelling.
Like Sylvia Plath, Natalie Jeanne Champagne invites you so close to the pain and agony of her life of mental illness and addiction, which leaves you gasping from shock and laughing moments later: this is both the beauty and unique nature of her storytelling. With brilliance and courage, the author's brave and candid chronicle travels where no other memoir about mental illness and addiction has gone before. The Third Sunrise is an incredible triumph and Natalie Jeanne Champagne is without a doubt the most important new voice in this genre.
Don't despair for story's future or turn curmudgeonly over the rise of video games or reality TV. The way we experience story will evolve, but as storytelling animals, we will no more give it up than start walking on all fours.
It's become almost a cliche at this point that movies in the general sense are the place you go for superheroes and explosions and TV is where you go for actual storytelling.
All art that is not mere storytelling, or mere portraiture, is symbolic, and has the purpose of those symbolic talismans which medieval magicians made with complex colours and forms, and bade their patients ponder over daily, and guard with holy secrecy; for it entangles, in complex colours and forms, a part of the Divine Essence.
You start with a generic body, but I think the first wall you hit with portraiture is comprised of history and storytelling and the nature of characters - whether they are historical or coming from literature or documentation. Those are the references we have to people, besides your family, and the intimacy of portraiture is in the specifics of individuals. For me, it came out of doing things about animals.
It is very linear storytelling, and I think that's not so much the fashion. I was watching a new drama the other night which was extremely non-linear, where you flash back and flash forward in ways that certainly keeps you on your toes as the audience. There's not much of that courage with the storytelling in our Maigret film.
For me and my storytelling and the way that I embrace stories in the way that I embrace characters, I desperately needed to know that everything was okay.
It's about storytelling. The story is told through images. So with the cast, I had to make sure that the emotions were readable without sound... I know some great actors, if you turn off the sound, you don't really know what they're saying
I think that my sensibilities are becoming slightly less delicate and I'm venturing out in a storytelling world.
Lots of TV is kind of becoming almost the new form for adult storytelling and cinema, but still with some independent films you still have those kind of jewels that people are able to make and it takes a lot of effort.
I do like 'Munich'.It's a really wonderful film. I mean, there's 'Schindler's List', there's 'Saving Private Ryan'. But 'Munich' - of all the other films, Munich would be the one that's really, really amazing storytelling.
Television can take anything. It can take the most exaggerated of storytelling forms.
I grew up in Sierra Leone, in a small village where as a boy my imagination was sparked by the oral tradition of storytelling. At a very young age I learned the importance of telling stories - I saw that stories are the most potent way of seeing anything we encounter in our lives, and how we can deal with living.
Gareth [Edwards] was very open to just shaping the performances and the scenes to fit what was happening with the actors and the storytelling that was emerging.
Every age has its storytelling form, and video gaming is a huge part of our culture. You can ignore or embrace video games and imbue them with the best artistic quality. People are enthralled with video games in the same way as other people love the cinema or theatre.
No woman or man is any one thing and the men in my stories, well, some of them are good and some of them are terrible, and most of them make the lives of the women they love much harder than need be. Why? Because that's the kind of storytelling I was drawn to when I wrote these stories, most of which are at least seven years or more old.
The album ['A Seat at the Table'] really feels like storytelling for us all and our family and our lineage.
It is a great vehicle for storytelling, especially for a certain kind of exhaustively reported, painstakingly fact-checked, and beautifully produced narrative.
Storytelling has driven faith and religious practice, keeping them alive for millennia. Just as every hymn, icon, and stained-glass window in a church links to a story, brands have the potential to build holistic identities.
It's a leap of faith doing any serialised storytelling.
My brand is good storytelling. I really want [my company] Hillman Grad Productions to be associated with great stories, interesting characters; things that are three-dimensional and feel honest.
I tell stories to music and, thank God, in tune.
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