Quotes of All Topics . Occasions . Authors
Step beyond right and wrong, and resist passing judgment. Who you've been and what you've experienced in the past isn't good . . . and it isn't bad. You might not know the whole story.
Neurologists say that our brains are programmed much more for stories than for abstract ideas. Tales with a little drama are remembered far longer than any slide crammed with analytics.
I still like to shock, but the jokes are less sexist. It's just that, at one point in my stories, there was some sense of pride, some enthusiasm, and now I'm just embarrassed by myself.
We really did it write it for the story but once you get into production, once you start doing this process certain things will jump out at you. Some shots will be more 3-D than others.
I have wandered many roads that I have never traveled; touched many things that my eyes have never seen. It is through stories that life is made, and through stories that life is saved.
I want there to be hints of narrative everywhere in the image so that people can make up their own stories about them. But I don't want to have my own narrative and force it on to them.
The story of Willie Stark fascinated me because it was tackling the story of a man who outwardly has all the success one could possibly want and who is destroyed by his personal demons.
I've seen so many cases where lives have been transformed for the good and heard so many stories about this. The technique of Transcendental Meditation really works for the human being.
In 'Hamilton,' we're telling the stories of old, dead white men, but we're using actors of color, and that makes the story more immediate and more accessible to a contemporary audience.
Like all stories of creators who bring life from the dead, his story began with a struggling butcher, who chased a gray cat, caught it, took off its studded collar, and slit its throat.
I love to feature children and young adults as real people - flawed, naive, virtuous, venal - but real. I think it adds nuance and depth to the stories that wouldn't exist without them.
What were you doing with her?" I ask quietly. "Apart from questioning her about your whereabouts, I was listening to the most intriguing story about my life moonlighting as a kidnapper.
For me, the short story is not a character sketch, a mouse trap, an epiphany, a slice of suburban life. It is the flowering of a symbol center. It is a poem grafted onto sturdier stock.
Narrative stories are nothing but models of karma and causality - how one thing leads to another. And a lot of narrative fiction is about causality that we don't immediately understand.
Before I tell you my story," Jasper said. "you must understand that there are places in our world, Bella, where the life span of the never-aging is measured in weeks, and not centuries.
I'd like to feel that an advertiser gets something extra when they advertise with us - a certain humanity that comes from upbeat and positive human interest letters and success stories.
The funny thing is, whenever I'm working on something, I kind of forget there's a lot of people watching. It makes it easier to be in the moment and to tell a story as well as possible.
Sometimes the autobiographical link in each story is very literal, like I did work at The Texas School for the Blind, and I did once lose a mattress out of the back of a friend's truck.
I can sort of do what I want. Maybe I have to work harder to prove myself in some new relationship because they've heard some wacky stories about me. But at least I can get the meeting.
I made commercials for corporations like Volkswagen and Coca-Cola, but I was always the one to write them, too, which was a very good exercise, because I learned to tell little stories.
For me, as a documentary filmmaker, I'm interested in telling stories of real people whose experiences tell us something about ourselves or our history, or who we are and our potential.
I heard stories from my mother's mother who was an American Indian. She was spiritual, although she did not go to church, but she had the hum. She used to tell me stories of the rivers.
History, mythology, and folktales are filled with stories of people punished for saying the truth. Only the Fool, exempt from society's rules, is allowed to speak with complete freedom.
If you like a story that's totally different and won't know which way it's going... where it's go ing to end up and which way it's going to take you, then I think my work fits the bill.
The power of pop culture stories should not be underestimated, and there is an enormous potential for inspirational stories that can have a positive, transformative effect on our lives.
Any fiction should be a story. In any story there are three elements: persons, a situation, and the fact that in the end something has changed. If nothing has changed, it isn't a story.
In life, finding a voice is speaking and living the truth. Each of you is an original. Each of you has a distinctive voice. When you find it, your story will be told. You will be heard.
In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.
The MacGuffin in that [Bill Clinton-Monica Lewinsky story] was [Bill] Clinton staying in office. That's what he wanted, and the media was hell-bent that he was gonna get what he wanted.
My mother was a librarian, and she worked at the Black Resource Center in South Central Los Angeles and would call me to tell me stories that she read about that were interesting to her.
It's the way you play that makes it . . . Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story.
It's all about who's where on the food chain. When I'm the story editor, I expect my writers to follow my vision. When I'm working for another editor, I'm obliged to follow their vision.
. . . All these readers have placed themselves inside this story, not as spectators, but as participants, and so have looked at the world, not with my eyes only, but also with their own.
A story isn't a charcoal sketch, where every stroke lies on the surface to be seen. It's an oil painting, filled with layers that the author must uncover so carefully to show its beauty.
Marry Gentry Swallowing Darkness (Laurell K. Hamilton):Pick any fairy tale that’s based on older stories, and the heroine of the piece has a miserable, dangerous, nightmarish time of it.
[Jorge Luis Borges] had short stories, and I was trying to learn how to write short stories, and then he had these things in the middle that were like fables, and I loved hearing fables.
Every now and then I'll do little things, a short story or something, that doesn't have any fantastical elements, but mostly I like the power of playing God and I like to imagine things.
I can see a movie and believe the story and characterization and stay proud of it. It doesn't change. Even if it's unappreciated, that doesn't mean it can't be appreciated in the future.
Wherever my story takes me, however dark and difficult the theme, there is always some hope and redemption, not because readers like happy endings, but because I am an optimist at heart.
I believe that when we love someone, we respect them, and we listen to them; we feel that their voice matters. And- we let them dictate the terms of who they are and what their story is.
I do try to plot about a chapter ahead once I get going. I have a list of upcoming scenes with little notes about them. But sometimes the story changes and I don't end up following that.
You have to be a great storyteller. And you have to master the tools that you have to tell the story which are, inorder of importance, the script, the actors and then thetechnical means.
But every day I tell my story, and be comfortable with my story and be comfortable with what I've done, and what I did, and how I am today, it lessens the likelihood it will ever happen.
It's not so much that I enjoy screenwriting, though mostly I do, but the difference is, with adaptations, somebody else has done the hard part - made up a story, provided the characters.
Before you can read, you know the difference between a story and reality. And, of course, by the time you're old enough to do any real damage with an Uzi, you've learned that difference.
Remember, we know the end of the story of World War II and the Cold War. But day by day, living in fear of the Nazis and then in fear of the Soviets, the outcome was by no means certain.
Short stories and some short novels are close to poetry--with the fewest words they capture the essence of a situation, of a human being. It's like trying to pin down the eternal moment.
We're all subjective beings and trapped in our own realities and our own biographical stories and physical bodies and our histories - and that's the only way we can experience the world.
Of course, all writers draw upon their personal experiences in describing day-to-day life and human relationships, but I tend to keep my own experiences largely separate from my stories.
Ah. My story. Are you certain you wish to hear it? It is long, unlikely, and remarkably unedifying -- shameful, even, to come from a minister's lips. Blasphemous, too, properly regarded.