There's that bubble of childhood that makes you innocently do anything. Then, when you get older, that pops, and you're aware of limitations and judgment and social pressures and things like that.
Pete DocterRead
It's really, always, the story and the characters that come first, and the other things are kind of dealt with in time or, in fact, driven by the story.
Interpretation
The essence of storytelling lies in the narrative and its characters rather than technical details.
Pete Docter emphasizes that in the realm of storytelling, the core components are the story and the characters. These elements take precedence, while other aspects can be addressed as the narrative unfolds, highlighting the importance of a strong narrative foundation in any creative endeavor.
In practice
A filmmaker might use this quote to emphasize the importance of character development in a script workshop.
There's that bubble of childhood that makes you innocently do anything. Then, when you get older, that pops, and you're aware of limitations and judgment and social pressures and things like that.
I wanted to make sure that 'Up' wasn't a 3D movie about a man who sails his house to South America. It's a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.
With sadness specifically, in America you read about people medicating to avoid sadness. They don't want to experience sadness, and yet it's such a vital part of being human.
It's like you run into this dark tunnel, trusting that somewhere there's another end to it where you're going to come out. And there's a point in the middle where it's just dark. There's no light from where you came in and there's no light at the other end; all you can do is keep running. And then you start to see a little light, and a little more light, and then, bam! You're out in the sun.
The eye can travel over the surface in a way parallel to the way it moves over nature. It should feel caressed and soothed, experience frictions and ruptures, glide and drift. One moment, there will be nothing to look at and the next second the canvas seems to refill, to be crowded with visual events.
It is not just shameful for a contemporary American poet to use rhymes, it is unthinkable. It seems banal to him; he fears banality worse than anything, and therefore, he uses free verse - though free verse is no guarantee against banality.
Designers want me to dress like Spring, in billowing things. I don't feel like Spring. I feel like a warm red Autumn.
There's no getting around it: Writing is hard, while working with young performers is nearly always a joy.
Any good story can galvanize a person, make him/her think about things a different way, reassess their own motives and needs, but that's never my intent. That's an unintended consequence of me just trying to entertain, to write what we used to call 'ripping yarns.'
My writing is jagged and harsh, I want it to remain that way; I don't want it smoothed out.
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