Quotes of All Topics . Occasions . Authors
Back in the day, Barry Crump not only had these stories that talked about that kind of rustic personality, but also, he spoke volumes, I guess, of the relationships in the stories that he told in these books.
The biggest regret I have about 'Rubicon' is that we didn't end it. Sometimes you do these shows and you don't have the opportunity to get closure. Stories are supposed to have a beginning, middle and an end.
And one thing that I always believed and that I knew for certain was that I could never have sustained a personal relationship while I worked this hard, or while I was that driven this intensely by the story.
I want people to read them and enjoy the experience and feel entertained. A lot of the best stories revolve around strange people, people whose decisions and logic and circumstances are not easily understood.
I wanted wherever possible to lean into the comic form and do things in the story telling that could only be done in comics and which pay homage to the many strands of comic and visual storytelling tradition.
I love expression and really connecting with people. As actors, we like to tell stories because they can influence or even change people's lives. It's so cerebral, you never know who you can affect out there.
At a certain point, I realized that I could draw anything, and there was nothing I should avoid - I could make it work. That's opened me up to being able to be much more comfortable telling any kind of story.
When I was in college, I wrote poetry very seriously, and then once I had started writing short stories, I didn't go back to poetry, partially because I felt like I understood how incredibly difficult it was.
Opera tells stories through the pure emotion of music. An exhibition has to tell a story purely visually. I've tried to incorporate both of those things - pure emotion and being more visual - into my writing.
I'm not a collector. I don't keep letters, or books, or souvenirs. But I do keep one copy of each translation of my books into a foreign language. Have you ever seen a murder story printed in Singhalese? Wow!
People may think I'm trying something new by telling stories, but they're just jokes connected to give the illusion of stories. But really, I just continue using my imagination and creating. That's what I do.
You know the stories of a woman saying to Churchill, 'Sir, you're drunk,' and he said to her, 'And you're ugly, but in the morning I'll be sober.' I was really excited to do that scene, but I did get slapped.
(I want to) make good stories that have a redemptive message and allow people to dig into their own lives and personal struggles and go "Am I like this? Do I have these flaws too?" and open up a conversation.
I really enjoy the pastiche storytelling of watching separate stories slowly collide with one another. The audience gets to participate in trying to guess and decipher how one story will connect with another.
I was working at a restaurant in L.A. when a producer came in. He said I should audition for this movie Cellular. I did, and I got the part. It actually makes me sick to tell that story because its obnoxious.
I don't know who will overcome losses, some losses aren't meant to be overcome, but all losses make for good stories and good character development and all the jazz that makes a show compelling and watchable.
You have to suspend disbelief a little bit to buy into your situation and to the story and to how the character will react. You have to tweak your credibility a little bit, is basically what it comes down to.
As a psychologist, I'm painstakingly careful not to borrow my clients' stories for my fiction - but in a general sense, I'm very much inspired by all the teenagers I've been lucky enough to know and work with.
Had I been brighter, the ladies been gentler, the Scotch been weaker, had the gods been kinder, had the dice been hotter, this could have been a one-sentence story: Once upon a time I lived happily ever after.
That boom town [Abu Dhabi] proved to be the reef against which my family crashed, the story of many who seek the promised land, and my poetry is a versification of that personal history. History is all I have.
"Be Right Back," in which Hayley Atwell brings Domhnall Gleeson back from the dead using his social-media profile, sprang out of an unrelated conversation. Other stories you thrash away at for weeks and weeks.
I'm interested in painting the most beautifully compelling pictures and images and metaphors and stories and explanations possible that will put Jesus in language for a world that desperately needs to hear it.
I've done 33 Sherlock Holmes stories and bits of them are all right. But the definitive Sherlock Holmes is really in everyone's head. No actor can fit into that category because every reader has his own ideal.
Many interviewers when they come to talk to me, think they're being progressive by not mentioning in their stories any longer that I'm black. I tell them, 'Don't stop now. If I shot somebody you'd mention it.'
For me, my favourite actresses are like Charlotte Rampling or Gena Rowlands... people who have always stepped outside of the restraints of a certain type of woman or story. I always like those movies the best.
For me, I think there's a lot more room in cable television to tell broader stories. NBC and the networks, they're all very mainstream, and they're a little more conservative in how they approach storytelling.
I have never written a play, a story, a poem, or my one film - anything - unless something was troubling me enough, wrecking me, in fact, to drive me back into the absurdity of writing. I do not enjoy writing.
I only like naturalistic stories. I love short, fantastic stories that cast a spell over the reader, that transport you instantly to another place with another set of rules, somewhere imagined by someone else.
I do not put myself in a box and say, for instance, I'm writing post-colonial literature. I don't know what I'm writing. That's the business of professors and critics. My job is to tell a story, and that's it.
Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
It is the consistency of the information that matters for a good story, not its completeness. Indeed, you will often find that knowing little makes it easier to fit everything you know into a coherent pattern.
I felt it's vague enough for the reader to pull their own story and their wisdom out of the poem, but for me, it's actually very painfully transparent what I've written. Sometimes very literal, which is scary.
I grew up in a place where everybody was a storyteller, but nobody wrote. It was that kind of Celtic, storytelling tradition: everybody would have a story at the pub or at parties, even at the clubs and raves.
There is a story that you have to tell within a certain amount of time, and you can only show so much of the character. So as much as the script is born from the source material, there are certain limitations.
Agatha Christie holds special personal memories for me because my mum, a television producer called Pat Sandys, had been the first person to persaude the Agatha Christie estate to put one of her stories on TV.
Even in the Senate, I'd put up any of the stories we did against any pablum Time or Newsweek has put out on global warming. We'd link to the other side; we'd present their arguments. They do one-sided screeds.
I decided years ago not to read stories about myself anymore. Each one is a potential minefield: Whatever it says, you're bound to take it the wrong way. Why do it if you know it's going to make you miserable?
Today’s events are reminiscent of the Old Testament story of how the Israelites demanded a king over God’s objection. They believed that a king would give them peace and security. The results proved otherwise.
My inspiration is my life, what I see happening around me. It can be history and, quite often, plain traditional fairy tales. But I never adapt; I nourish myself with old stories, and then create my own tales.
Since I was a kid, I've liked to see how things are done. Sometimes when you see how things are done, it's like watching a 'making of' within the story. You see the physical aspect, the construction of things.
A lot of sponsors over the years have left us. They've all come back. But they chose to leave us for a while because of stories we have done about them or their products or their friend's products or whatever.
My book centers in on the New Testament, the goal being to help a person who wants to understand the Bible to see how what God did as revealed in the New Testament will reveal to them their own personal story.
Everyone has their own story and that’s something I hope for everyone to learn at a young enough age. Just because something is right for someone else doesn’t make it right for you. It’s cooler to be yourself.
Personal style isn't simply an exercise in parroting but rather an exhibition for our own stories - from the gait of our walk to the rhythm of our speech to the manner in which the necktie falls from the knot.
When you're on stage, you build strong relationships with the actors, but it's a story you tell with the audience - you have to include them, you have to respond to them, they have to understand the narrative.
I believe with all my heart God's Story has a happy ending. . . But not yet, not necessarily yet. It takes faith to hold on to that in the face of the great burden of experience, which seems to prove otherwise.
This story is about people,secrets and time.About people who, not unlike parcels,hide secrets,who cover themselves with layers until they present themselves to the right ones who can unwrap them and see inside.
When we were done and not picked up to series yet, they wanted us to read lots of writers. I was like, "No." Then we finally were picked up. It is hard not to start thinking of story lines. It is like doodling.
Without the silence that follows the chants, you get only half the story. It's like the climax of a good story. The silence is there because it exists in the music. It just needs to be exposed and acknowledged.
I want to tell stories which require something of an audience, by way of thought, argument, emotion, because I'm more often in an audience than I am a maker of films, and that's the kind of movie I want to see.