Quotes of All Topics . Occasions . Authors
I like storytelling. We all have an active thing that we do that gives us self-esteem, that makes us proud; it's necessary. I have to tell stories because that's the way the wiring went in.
Sometimes a book is better than it ever had a right to be because of the history the reader brings to the reading and because of the methods educators use to bring a particular story alive.
I get tired of stories that keep going and going and never get anywhere. It's like a promise that's never fulfilled. Stories need endings. Otherwise, they aren't really stories. Just pages.
The cinema, like the detective story, makes it possible to experience without danger all the excitement, passion and desirousness which must be repressed in a humanitarian ordering of life.
Telling our stories is what saves us. The story is enough... The very act of storytelling, of arranging memory and invention according to the structure of narrative is, by definition, holy.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
It is my belief that we as human beings have a need to tell stories - I think it's evolutionary. So you can think of the short story as a literary form, or you can instead think of stories.
When you get into a film, it is one story and one set development of a character, and you are able to delve into one character for a short period of time and discover everything about them.
I learned very quickly that the hard thing in life is to make good films. Technically, filmmaking is the camera and the actor telling the story and that's what I'm more interested in doing.
The New York Times has had fake stories. CBS has had fake stories. And now Newsweek had a fake story. You realize the only one that hasn't had to print a retraction is the National Inquirer
The truth is, whoever I've dated, if I've ever wanted to talk about them on stage, I've asked them first, and I've gotten their permission to tell a story or talk about them before I do it.
There are people who know Hillary Clinton who tell wonderful stories about her, how likable she is, how funny she is; 99 percent of American people don't - have never seen that side of her.
Once in 1919, when I was traveling at night by train, I wrote a short story. In the town where the train stopped, I took the story to the publisher of the newspaper who published the story.
Maybe because I'm a child of the 80's, but for me a sequel is a story that follows the previous one, and sometimes if you haven't seen the original then you don't understand the second one.
I do have to earn a living, so I'm conscious of probable reactions from readers, but the most important one is still the awareness that if I'm not enjoying a story, the reader won't either.
Long as there's a sun that sets, Primroses will have their glory; Long as there are violets, They will have a place in story: There's a flower that shall be mine, 'Tis the little Celandine.
Point of view is not something I consciously decide. Almost always, when I come up with a plot I find that the point of view has automatically arrived with it, part and parcel of the story.
All my stories and worlds spring from the basic principle of being a slave to the premise, to follow the consequences wherever they may lead without taking any easy or comfortable ways out.
The stories of wine lords who trade wine on intimidation or food critics who trade free meals for reviews those are the stories of my life. I am telling the stories of my life in a true way.
Every actress has a line she'll draw, where she'll say, 'This I will do and this I won't.' For me, everything has to be important to the story and the director has to be able to tell me why.
Looking back, I'm proud of what I've been able to do, grateful for the fact that I really have very few, if almost zero, nightmare stories of being on sets and working with the wrong people.
Scripture is, at its heart, the great story that we sing in order not just to learn it with our heads but to become part of it through and through, the story that in turn becomes part of us.
I probably write the same story a hundred different ways. I suppose right now I am looking for the 101st different way to write that same story. And the 102nd, and 103rd and 111th and 133rd.
An arresting testimony to the haunting power of friendships, THE AFTER GIRLS is a story that understands what it is to be passionate, confused, and on the brink. I loved every resonant word.
In the war room, love? What if someone comes in?” I stood and removed his shirt. “Then they’ll have a good story to tell.” “Good?” He adopted the pretense of being offended. “Prove me wrong.
Mr. Lapid, making an electrifying feature directing debut, traces the line between the group and the individual in a story that can be read as a commentary on the world as much as on Israel.
Why has Scandinavia been producing such good thrillers? Maybe because their filmmakers can't afford millions for CGI and must rely on cheaper elements like, you know, stories and characters.
Once you call something a story, it's set in stone. It has a beginning, a middle, and an end that can't be transformed, because by definition, if you do that, it's not the same story anymore
A good story's like a door, and you can go through it whenever you need to. After you've read it or seen it or heard it, you can still go back through it. Once it's yours, it's always yours.
By manipulating what you hear and how you hear it - and what other things you don't hear - you can not only help tell the story, you can help the audience get into the mind of the character.
I was telling some people in my dressing room some of my other stories, my psychotic break, and blah, blah, blah, and no, they kind of look at you and it's just not what they wanted to hear.
A lot of the struggle I had with movies is I really loved moments and tones and feelings in a scene, and I loved creating those, but I never really had great stories to string them together.
And I like those authors best whose scenes describe my own situation in life-- and the friends who are about me whose stories touch me with interest, from resembling my own homely existence.
If we take seriously the idea that the stories we want to hear shape the stories we can (and want to, and are allowed to) tell, then the canon emerges as something to examine very carefully.
I like to think about what the song is saying, the story of it, and conveying the mood of that to the audience. But at the same time, sharing through interacting with them and engaging them.
For that story, I took as my subject a young woman whom I got to know over the course of a couple of visits. I never saw her having any health problems - but I knew she wanted to be married.
Whenever you listen to a piece of music, what you are actually doing is hearing the latest sentence in a very long story you’ve been listening to - all the pieces of music you’ve ever heard.
We've always lived in dark times. There has always been a range of human experience from the sublime to the brutal, and stories reflect it. It's no less brutal now; each age has its horrors.
If you want your children to be smart, tell them stories. If you want them to be really smart, tell them more stories. If you want your children to be brilliant, tell them even more stories.
We cannot bear for our most mysterious experiences to remain unexplained. I've therefore learned...that every story has worth, since a person takes the time to tell it. The key is to listen.
Once I've discovered the story, I might restructure it, maybe move things around, set up a clue that something is going to happen later, but that happens much later in an editorial capacity.
I make hip-hop, but use Doom as a character to convey stories that a normal dude can't. You have writers that write about crazy characters, but that doesn't mean the writer himself is crazy.
The rules say that to tell a story you need first of all a measuring stick, a calendar, you have to calculate how much time has passed between you and the facts, the emotions to be narrated.
But at a certain point you've gotta be ruthless with the movie because you can have these great scenes, but they aren't specifically building the story that needs to be built at that moment.
The Christian faith grew through story - not text. Only later did the stories become Scripture. While the Scripture must be held in the highest regard, we must not neglect the power of story.
There are a lot of artists who've said they'd like to work with me. To be honest, I'm not sure there is such a thing as an inappropriate artist. The trick is matching the artist with a story.
The way I prepare is through script analysts and back story. I create back story for a character based on script analysts, filling in as many details as possible. I also do a lot of research.
The best stories in our culture have some sort of subversiveness - Mark Twain, 'Catcher in the Rye.' You provide kids with great stories and teach them how to use the tools to make their own.
Think about how you will start and where you will go. Get the head with logic and the heart with visuals or stories. And think about your core customer and all the other stakeholders as well.
The goal is always about the next story. It's always about the thing I haven't done before. It's about learning, or it's about becoming better, and it's about whatever story grabs hold of me.