Quotes of All Topics . Occasions . Authors
My elaboration of the story always conforms to the reality at its source. It is always close to the world, the life, the reality it describes. No matter where I go, I’m still holding up a mirror.
I think that people create the world that they live in. Your existence is very subjective, and you tell stories and organize the world outside of you into these stories to help you understand it.
For me, I look at a project that has a story that's going to resonate in some way. It doesn't have to be about a message. It doesn't have to have some underlying theme of overwhelming importance.
It seems to me that romantic comedies used to be about falling in love, but in recent years they've really become just comedies where the love story is only there as a spine to hang the jokes on.
My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.
I don't like to meet the actor and have a lot of conferences and talk about their sub-life and their off-screen life and their back stories and all that nonsense, because it never means anything.
So we make stories of our own, in fevered and envious imitation of our Maker, hoping that we'll tell, by chance, what God left untold. And finishing our tale, come to understand why we were born.
The Scripture stories do not, like Homer’s, court our favor, they do not flatter us that they may please us and enchant us—they seek to subject us, and if we refuse to be subjected we are rebels.
The rise of anime had to happen. If the Japanese could tell better American stories, it would go through the roof. They still tell stories which are very much oriental. I take my hat off to them.
I write weird stories. I don't know why I like weirdness so much ... But when I write, I write weird. That's very strange. When I'm getting more and more serious, I'm getting more and more weird.
I have to say that movies have as much impact on me as music. And that I learned as much about narrative from movies as I did from reading novels, how to arrange stories, how to juxtapose things.
We can only connect the dots we collect, which makes everything you write about you... your connections are the thread that you weave into the cloth that becomes the story that only you can tell.
I'm scared. I'm excited. I'm ready for whatever happens but I think that fame is what comes along with the territory when you open yourself up and become this story, this book for anyone to read.
Although awareness of cancer's prevalence in the United States improves and medical advances in the field abound, pancreatic cancer has largely been absent from the list of major success stories.
If you actually succeed in creating a utopia, you've created a world without conflict, in which everything is perfect. And if there's no conflict, there are no stories worth telling - or reading!
When we believe in our thoughts, when we tell ourselves a story, we suffer. 'My husband doesn't respect me.' 'I should be thinner.' Those are stories. When there's no story, there's no suffering.
Historians who stuff in every item of research they have found, every shoelace and telephone call of a biographical subject, are not doing the hard work of selecting and shaping a readable story.
Why do we travel to remote locations? To prove our adventurous spirit or to tell stories about incredible things? We do it to be alone amongst friends and to find ourselves in a land without man.
If there is anything interesting about my story it's the fact that it's not unique at all. I feel that I have been through what almost everyone I know has - a slow and gradual maturation process.
Toy Story 3 is so besotted with brand names and product-placement that it stops being about the innocent pleasures of imagination -- the usefulness of toys -- and strictly celebrates consumerism.
Because I found myself telling the story of his family to people without the visual aids that I was able to employ by filming them eventually. But I very much knew exactly what I was going to do.
Most magazines have become wallpaper, they're all the same, all the same celebrities. It's really an abysmal time in American journalism right now. But occasionally one story or two will pop out.
You just have to learn to get really good at choosing your moments and making sure that your story isn't overwhelmed by the effects, and that your emotional storyline is what's driving the train.
When you read enough stories about people who have been through different levels of trauma, and it doesn't matter what the history is, trauma is trauma, there's always this freeing of the spirit.
A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.
I'm one of those apocalyptics. From the start of my immigrant days, I've been fascinated by end-of-the-world stories, by outbreak narratives, and always wanted to set a world-ender on Hispaniola.
Stories of friendship are very interesting to me. Artificial families are something I like to explore. Whether it's a bunch of guys or a bunch of ladies, there's something interesting about that.
I think any journalist who spends time in a place realizes that there are lots of stories around beyond their primary story. You meet so many interesting people and have all kinds of experiences.
Growing up as a little, introverted boy, dance was the only way I could communicate. For me, it's the greatest language - no words. Sharing people's stories through the art of movement is magical.
A 3K word story might well be done in some caffeine-and-nicotine-fuelled 36 hour session, and at the end of it, there'll be a few passes of editing required, but I basically have a polished draft.
I don't have this feeling like, oh, I want to live in the United States and make movies and become famous just because the money is here. I like to make movies that tell stories that I care about.
We go through life owned by the stories we tell ourselves which are often historic and charged narratives - things we've learnt since childhood that we don't even consciously realise are going on.
Theatre is the principal job of an actor. An actor's job is to tell a story to someone in a room. TV and film can be great and I really love doing it, but it is a different way of telling a story.
Some of what we read in classical literature is not relative to our condition, but then many women novelists and poets have turned it upside down and told the stories from the other point of view.
I've never really considered doing stand up, but I have done readings/spoken word things fairly often in which I'll just tell a bunch of stories and run off at the mouth. I'm a big tangent person.
Over and over, we start our own tales, compose our own stories, whether our lives are short or long. Until at last all our beginnings come down to just one end, and the tale of who we are is done.
I wanted to write a story that was different than what I've done before - so I decided to write dual love stories that will keep the reader wondering how the stories will come together by the end.
The story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be . . .
Im not really devoted or specified towards any specific genre at all. I really like it all. Theres good storytelling in all the genres, you know. I just want to tell good stories and do good work.
Easter is reflecting upon suffering for one thing, but it also reflects upon Jesus and his non compliance in the face of great authority where he holds to his truth - so there's two stories there.
That's why they (the Bush administration) had to make up that story about weapons of mass destruction. Because that was the only thing that would sell to the American people, and that wasn't true.
New dramatic writing has banished conversational dialogue from the stage as a relic of dramaturgy based on conflict and exchange: any story, intrigue or plot that is too neatly tied up is suspect.
It's one thing to not want an evil-sorcerer type villain in your story, but it's another thing to avoid having any sort of antagonist at all. A story without an antagonist gets weird pretty quick.
Writing a novel is always complicated, it's not like you snap your fingers and go, 'Ah, I know what I'll write'. For me, a lot of the time, I have to write and as I write, I learn about the story.
And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.
As a writer, its important to stay true to your story without giving a hoot about publishers, critics and readers. You should do your karma as an author the way you want to, and rest is up to God.
Shame hates it when we reach out and tell our story. It hates having words wrapped around it - it can't survive being shared. Shame loves secrecy... When we bury our story, the shame metastasizes.
I just want to make stories. They don't have to have a moral or a reason. There might be some mild cautionary notes, but they're not moral. They don't impart any Judeo-Christian ethic of any kind.
If you try to make a silent movie with a normal script and you just pull out the dialogue, you will have big problems with the actors because you will ask them to tell a story that you don't know.
Sometimes when there is action, we just tend to avoid those moments with music, and have music in a separate part that allows you to dream and to make your mind up on where you're at in the story.