Quotes of All Topics . Occasions . Authors
I have a bee in my bonnet as to how few black historical figures one sees on film; incredible stories, stories from which we are living the legacy and which just don't get made.
Babylon 5 is probably the biggest, most ambitious television science fiction series ever made. It's one big novel told over five years with 110 different stories told within it.
I use everything. Turning life into stories is how I make sense of my experience. No matter how weird or disturbing or upsetting to me personally, it all finds its way in there.
I never started writing because I wanted to write myself stuff. It was really more that I had these stories to tell, and I wanted to work with people that I respected and liked.
I like surprises. I like mystery. I’m not the kind of person who goes to the writer’s room and goes, I need to know the whole story so I can prepare. No, don’t tell me anything!
In France, you have 900 years of romantic love going back to the troubadours and minstrels that wrote stories of Lancelot and Guinevere. You have gallantry at the highest level.
I didn't want to travel. I didn't want to leave my family. I heard all these stories from Dad about not having Edward around when he was young, and I didn't want that to happen.
Perhaps the story in the book is just the lid on a pan: It always stays the same, but underneath there's a whole world that goes on - developing and changing like our own world.
The problem the cable channels have is they have to fill 24 hours. That's a terrible thing. We only do that on the biggest stories. The thing is there has happened to be a lot o
CBC has a very important mandate to bind Canada together in both official languages, tell local stories, and make sure we have a sense of our strength, our culture, our stories.
If I had quietly retired as governor in 2007 and went into banking or something of that nature, I would have been, at most, a footnote in the story and probably never mentioned.
So now it is time to disassemble the parts of the jigsaw puzzle or to piece another one together, for I find that, having come to the end of my story, my life is just beginning.
Read a lot - poems, prose, stories, newspapers, anything. Read books and poems that you think you will like and some that you think might not be for you. You might be surprised.
I could have written a story about a well-adjusted family. Ned Stark comes down to King’s Landing and takes over and solves all their problems. Would that have been as exciting?
Game mechanics are the core of what a game truly is. They are the interactions and relationships that remain when all of the aesthetics, technology, and story are stripped away.
Stories have a richness that goes way beyond fact. My writing knows more than I know. What a writer must do is listen to her book. It might take you where you don't expect to go.
It is important to tell good stories. You can tell stories even if they are not huge, epic, and wonderful. You can still take the responsibility for being a scribe of your tribe.
I have one guy that I really have to talk to once a day, and if I don't talk to him once a day, I really feel like something is not completed. This is, like, an attraction story.
We live in a world of competing narratives. In the end, we have to decide for ourselves which is right. And having made that decision, we then need to inhabit the story we trust.
Violence is used to portray what happens in a film. It only helps portray the actors and what they do. I think it is more about the story, when you have something to play off of.
Comedy is so fun. I don't know how these people can make movies and work on them for four months and they're these sob stories. I don't know how emotionally you get through that.
In early 1970, Newsweek's editors decided that the new women's liberation movement deserved a cover story. There was one problem, however: there were no women to write the piece.
I just use my life story as a kind of device on which to hang comic observations. It's not my interest or instinct to tell the world anything pertinent about myself or my family.
Nobody is the author or producer of his own life story ... somebody began it and is its subject in the twofold sense, namely, its actor and sufferer ... but nobody is the author.
Unless I'm writing in the Igbo language, I use a language developed elsewhere, which is English. That affects the way I write. It even affects to some extent the stories I write.
Sometimes that's a year, sometimes it's 18 months, where all I'm doing is taking notes. I'm reconstructing the story from the back to the front so that I know where the front is.
For me, acting was a way of releasing all of this stuff that I had inside - and a way for me to tell the stories of the people I knew, so that their spirit could live through me.
The story of U.S. policy during the genocide in Rwanda is not a story of willful complicity with evil. U.S. officials did not sit around and conspire to allow genocide to happen.
There really is only one story that you need to tell as a scientist or a technologist. It's Prometheus stealing fire. That's it. That's what we do as scientists or technologists.
Deirdre Maddon has an extraordinary, almost celestial way of telling a story. There are so many great writers now - although I also want to go back and read all of Dickens again.
I was a better writer when I was teaching. I was constantly going over the basics and constantly reminding myself, as I reminded my students, what made a good story, a good poem.
I know what kind of things I myself have been irritated by in detective stories. They are often about one or two persons, but they don't describe anything in the society outside.
The people who knew me and knew my work and trusted me, they knew then as they do now that I've never fabricated or plagiarized a story. People who know me know I didn't do this.
I would not know how I am supposed to feel about many stories if not for the fact that the TV news personalities make sad faces for sad stories and happy faces for happy stories.
I have grown up on a staple diet of love stories. But, soon I realised it is not so rosy or divine. It is painful, selfish and ugly. Love is the biggest curse of this generation!
We may legitimately see in the [Old Testament] event, or in the record of it, additional levels of significance in the light of the end of the story – i.e. in the light of Christ
I don't even know if Stephenie [Meyer] could tell you why she was so fixated on [Twilight] very, very contained story about these very obsessive characters. It's just an anomaly.
Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.
All I can say is that these cult stories are totally untrue, are without any foundation, and trade on a deep bias against Westerners who dare to embrace an Eastern belief-system.
Everyone has a belief system in his or her mind, a story about the way they think the world actually is, even if they haven't thought about it much or worked out all the details.
Somehow, I realized I could write books about black characters who reflected my own experiences or otherworldly experiences - not just stories of history, poverty and oppression.
They [my stories] evolve. If they're tightly constructed, it's because they're revised constantly as I move forward each day. That's where the structure inheres. It's all organic.
I sail, run dogs, ride horses, play professional poker and tell stories about the stuff I've been through. And I'm still a romantic; I still want Bambi to make it out of the fire.
To see the madness and yet walk a perfect silver line. ... That's what the true story-teller should be: a great guide, a clear mind, who can walk a silver line in hell or madness.
What I usually do is tell funny stories from the road, many of which are, of course, unprintable. But I don't actually have a joke. I don't tell jokes much. I tell little stories.
I'm not building each one character around one metaphor, so much as trying to build a heroic archetype that can be used to express the kind of metaphors that I find in each story.
As someone with a novelistic background, I just didn't have much interest in creating stories by committee. I don't think you necessarily get the best story through that approach.
In my stories for children, I sometimes show a hard, harsh, dangerous world. I'm going to show you the way it is, but I'm going to also tell you that there's every reason to hope.
Oh, for Thor's sake..." said Hiccup. "I thought that was just a story..." "Stories come from somewhere," said the witch. "The past haunts the present in more ways than we realise.
There is something in us, as storytellers and as listeners to stories, that demands the redemptive act, that demands that what falls at least be offered the chance to be restored.