Quotes of All Topics . Occasions . Authors
I love acting. I love play-acting. I love pretending. I love telling stories so whether they be comedic or serious or whatever, it doesn't really matter to me. I enjoy telling a good story. I have it all in me.
If we weren't doing remakes, nobody would know who Shakespeare was. I'm not saying that RoboCop is Shakespeare, but it's a way we're retelling. That's what we do as human beings. We retell our favorite stories.
The stories on standardized tests don't have one author, therefore they can never authentically be in the first person. Imagine that! Everywhere, there are these tests that have been written by multiple people.
I've always been into having stories told to me. I was a voracious reader, my father was also a teller of tales; and the kind of Baron Munchausen proxy of a tall tale was much more interesting than a true tale.
I seem to offend everybody. I just never got into the universe. I don't seem to have a tremendous amount of discipline or patience with having to follow a story that is really multi-leveled and science-fiction.
If you will let your dominant intention be to revise and improve the content of the story you tell every day of your life, it is our absolute promise to you that your life will become that ever-improving story.
One of the striking things about doing research on Malcolm X, and I believe that most Malcolm X researchers could tell you their own stories, is that there's this paradox of the absence of critical information.
Some of the most morally conscious, kindest, most compassionate people are in the entertainment industry, people who want to affect the world and make it a better place through telling human, heartfelt stories.
I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.
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 T.V.
Even if the experience in my stories is not autobiographical and the actual plot is not autobiographical, the emotion is always somewhat autobiographical. I think there's some of me in every one of the stories.
Everything has changed and we're all living in one city now. What happens somewhere affects things everywhere, so I have to be careful and whatever stories I work on, I want them to have redeeming moral values.
Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.
I have always loved to read, and now that I have penned 10 novels and a few magazine articles, I have fallen seriously in love with writing stories and seeing them go out into the world. It's magical, you know?
I've taught both screenwriting and playwriting, and playwriting is both much harder and much more rewarding. One can teach people how to tell a story in cinematic ways, but theater is a much more elusive craft.
A new writer starting out today, whether it's for TV or film, they have to remember that they're telling the story to themselves first of all, and they have to tell the story so that their life depends upon it.
Me and Biggie share a storytelling ability--he was an actor on wax, too. His stories were so vivid and torrid, he made you feel them. And we both have the hardness. When I come out on the mic, you know it's me.
While my stories are experimental, they're also very traditional. I love the works of the great Russian writers like [Pavel] Chekhov and [Lev] Tolstoy, and their ability to portray our human struggles and joys.
The Republicans have never had, in their story - conservatives, either, have never had... I'm talking this in a media context, now. They've never had an agenda or a story that the media would like them to have.
I always kinda liked our attic ghost. When I was a kid, I used to go up there and read stories to it. Show it my new toys. It's just an old spirit stuck between the worlds, right? What's to be scared of?"" ~Vic
My story follows a very classic tragic paradigm in which you learn things too late for them to be of any use, and by keeping silent about the thing that you're terrified of, you bring it about - and even worse.
When you hire that first person, then you're a boss. You've got performance reviews. You've got complaints about not making enough money. You've got people who are just going to sell your story to the tabloids.
I remember that - you know, I didnt receive a formal education. I was educated in the Montevideo cafe, in the cafes of Montevideo. There, I received my first lessons in the art of telling stories, storytelling.
There really is only one ending to any story. Human life ends in death. Until then, it keeps going and gets complicated and there's loss. Everything involves loss; every relationship ends in one way or another.
Once I got into pop songwriting, I was kind of just ready to help other people tell their stories... I'm here to facilitate and structure and grow and make things a little more fabulous and a little more urgent.
Cinematic and symphonic: this is a compelling story revealed in a sequence of voices that are as pitch-perfect as they are irresistible. This is a wonderfully impressive debut: tender, muscled and unforgettable.
We didn't have a phone when I was a kid, and I was too shy to smash any public phones, and our town didn't have a pool hall either, so I had to hang out at the public library - and anyway, I told myself stories.
Empathy doesn't require that we have the exact same experiences as the person sharing their story with us...Empathy is connecting with the emotion that someone is experiencing, not the event or the circumstance.
The complete absence of the story - that was the best thing about this whole thing, because you know that nothing's going to happen and everything's going to happen. It's just the gaze. You create your own zone.
If we get you in the early years of your life and we fill your head with all of the Catholic stories, then it's very hard for you to stop being Catholic. Catholics are Catholics because they like being Catholic.
My father is an actor, and I used to go on set to visit him. I saw the stories he was telling and said: 'That's what I want to do.' I was always in awe whenever I went to the movies or when I watched television.
Plenty of people say my guesses about a future drought in the western U.S. (where I live and grew up) are wrong, so I don't see why I won't be wrong in some people's eyes when I go set a story on foreign shores.
I didn't do drugs, I never did do drugs. Never. I don't have any story of drugs, you know, to speak of. Never did drugs, never was interested in drugs and then I wasn't interested in the people around the drugs.
If the new movies do contradict my books in some way, I can probably come up with some hand-waving story that will explain the apparent discrepancy. If there’s one thing we authors are good at, it’s hand-waving.
I usually have about four books on the go - a bedside book, a lavatory book, a downstairs book, and the book in my study that I read sneakily while I should be writing. Short stories for the lavatory, obviously.
I know some actors feel classes are not cool or they create negative public relations, but I continue to crave the story just beyond my reach. To grasp that brass ring I need to continue to fine-tune my talents.
You realize time isn't just a period that you tell a story within - it becomes a major character in the film. There is no beginning, middle, end because there is always stuff beginning and ending simultaneously.
Unless you can be in a place yourself and go through the subject of your story yourself, the next best thing is not to read a book about it, or see a movie about it, it's to talk to the people who've been there.
The life story of the five main characters and the secondary characters around them allows Jonathan Franzen to present the full impetus and extent of the world picture of the West at the end of the 20th century.
My sentences got sharper and my stories more efficient, and I gradually learned to imagine the reader more clearly and to empathize with that imagined reader, which is a crucial part of learning to tell stories.
Spoken word teaches that if you have the ability to express yourself and the courage to present those stories and opinions, you could be rewarded with a room full of your peers or your community who will listen.
As I walk back to the school on my own, I realise I'm crying. So I go back to the stories I've read about the five and I try to make sense of their lives because in making sense of theirs, I may understand mine.
I often wonder if you wrote your memoir today, if your life story would be lived on the edge of possibility, if you held wonder in one hand and courage in the other and truly believed that anything was possible.
I remember that - you know, I didn't receive a formal education. I was educated in the Montevideo cafe, in the cafes of Montevideo. There, I received my first lessons in the art of telling stories, storytelling.
I've always sort of felt a little bit like I was on the road less traveled, so if I come across a story about a person who broke the rules, or did things differently and succeeded, that's really inspiring to me.
There are some ghost stories in Japan where - when you are sitting in the bathroom in the traditional style of the Japanese toilet - a hand is actually starting to grab you from beneath. It's a very scary story.
The job of a storyteller is to speak the truth. But what we feel most deeply can’t be spoken in words alone. At this level, only images connect. And here, story becomes symbol; symbol is myth. And myth is truth.
That larger story in 'Salvage the Bones' is just about survival, and I think that, in the end, there are things about this novel and about these characters' experiences that make their stories universal stories.
We as Black people have to tell our own stories. We have to document our history. When we allow someone else to document our history the history becomes twisted and we get written out. We get our noses blown off.
You can verify that in news meetings I sometimes say, 'This is skewed too far to the left,' or 'The mix of stories seems overweeningly appealing to a reader with a certain set of sensibilities, and it shouldn't.'