Quotes of All Topics . Occasions . Authors
The truth is that there is only one terminal dignity - love. And the story of a love is not important - what is important is that one is capable of love. It is perhaps the only glimpse we are permitted of eternity.
Epidemiologists study patterns in order to combat infection. Stories about epidemics follow patterns, too. Stories arent often deadly, but they can be virulent: spreading fast, weakening resistance, wreaking havoc.
We've all got stories to tell that no one else knows. We've all got this truly unique experience of being. So I would say cultivate that, because then also you're cultivating something which is very natural to you.
If the subject is no longer living, the immediate question is do you have enough first-person material to really get that story across. You'd like to avoid it just being other people's memories and interpretations.
It's the purest form of silver and our tagline is "Taking the 'except fors' out of movies." We're trying to make movies with pure story - without the derogatory sex, violence and language to (rely on) a good story.
Almost any problem, whether it's telling a family story, or telling a network-quality story, or answering a network note, becomes essentially instantly solvable, because you have a bunch of brains sitting in a room.
I give a speech at some colleges and corporations called 'Performing Your Life: An Evening with Jeffrey Tambor.' I get asked a lot of questions, and people say, 'Your stories are wonderful. You should write a book.'
Throughout my teenage years, I read 'A Christmas Carol' by Charles Dickens every December. It was a story that never failed to excite me, for as well as being a Dickens enthusiast, I have always loved ghost stories.
I have been sent three or four scripts for television series, but there wasn't anything I really wanted to do. I want to tell a good story, whether it's a TV show, a movie, whatever. That's really my No. 1 criteria.
As human knowledge has grown, it has also become plain that every religious story ever told about how we got here is quite simply wrong. This, finally, is what all religions have in common. They didn't get it right.
I've had the privilege of meeting and/or interviewing most of the top metal and hard rock artists at various points in my career and sharing their stories and music with millions of fans on air through TV and radio.
I wanted to re-examine stories people think they know without the rose-colored glasses of Hollywood and let the audience decide for themselves if people like Wyatt Earp were sinners or victims of life circumstances.
In the Seventies, a lot of executions via electric chair failed because of technical problems. Seed tells the true story of someone who survived and sought revenge. They buried him alive to make it seem he was dead.
Plausible development, building from what we know about what really did go on, and a whacking good story… Surrounded by Enemies delivers on both, big-time. So hold on to your hats, folks. You’re in for quite a ride.
Storytelling wise, you've gotta take it as far as you can possibly take it with each individual movie. If you're holding out something for a sequel or some cliff-hanger, that's not how I think of a satisfying story.
And nothing can we call our own but death And that small model of the barren earth Which serves as paste and cover to our bones. For God's sake, let us sit upon the ground And tell sad stories of the death of kings.
I start to get fixated on a story and a character and an idea, and at a certain point, I really want to do it. It's a compulsion to explore a specific thing, as opposed to a compulsion to direct, generally speaking.
In Japan, there's a TV series called Jin. It deals with time travel. I like stories about time travel. It's a story about people living in modern day that travel back to the Edo era. Those things really interest me.
The fact that he didn't get credit for a while is more the story of social injustice. But his own spirit wasn't driven by that, and wasn't dependent upon that. He just wished he had the cash to go to medical school.
The early evangelists recognized they could help the Jesus story make sense if Jesus was seen as someone who was chosen to appease the wrath of God - hence, the 'anointed one' who could do what no one else could do.
When this is all over I'm going to found an association called 'The Knights of the Idiotic Table' and its purpose will be to arrange an annual dinner where we tell stories about Lisbeth Salander. You're all members.
Folk in those stories had lots of chances of turning back, only they didn't. They kept going because they were holding on to something.... That there's some good in the world, Mr. Frodo, and it's worth fighting for.
Every film I have made has corresponded to a very special moment of my life. I like to think that if someone wanted to reconstruct the story of my life, they can just see my movies and know what I have been through.
We [with Les Charles] started talking about hotel stories, and we found that a lot of the action was happening in the hotel bar. We actually thought of that while we were in a bar: "Why would anyone ever leave here?"
When I was young, I wanted to be a writer or painter. I was always writing stories, and I excelled at drawing. My teachers encouraged my art work. When I was 9 or 10, I began learning piano and started writing music.
I grew up in a family where, through my teenage years, I was expected to go to church on Sunday. It wasn't terribly painful. I thought some of the stories were neat; I liked some of the liturgy and some of the songs.
I didn't become a good writer until I learned how to rewrite. And I don't just mean fixing spelling and adding a comma. I rewrite each of my books five or six times, and each time I change huge portions of the story.
Delia Sherman once told me that you never learn to write a story. You only learn to write the story you are currently writing. You have to learn how to write the next story all over again. And she's absolutely right.
Stories, we all have stories. Nature does not tell stories, we do. We find ourselves in them, make ourselves in them, choose ourselves in them. If we are the stories we tell ourselves, we had better choose them well.
The trouble with Hollywood is that it has poisoned us. If you see a poster of a movie it is mainly the picture of a woman and a man. Always a love story. Yes. But it shouldn't be that way. It should be another (way).
I like directing much better. It's more fun, that's all there is to it. It's essentially the same job, which is storytelling, but you have more control over the way you want to tell the story. It's a high. I love it.
If you think I write stories where it is all right to just be good enough, are you kidding? You think I have a cavalier attitude on throwing stuff out? Are you kidding? I am not cavalier about what I do for a living.
Usually, you lose interest in a story beyond a certain point. But with Highway, there was something very subtle, yet something very influential. I intended Highway to be the first film that I ever made. Didnt happen.
If you just write the kinds of stories you think others will want to read, you'll be competing with cartoonists who are far more enthusiastic for that kind of comic than you are, and they'll kick your ass every time.
I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.
It isn't that you subordinate your ideas to the force of the facts in autobiography but that you construct a sequence of stories to bind up the facts with a persuasive hypothesis that unravels your history's meaning.
Actually, no, but I am close to the people who are working on Chicken Little, and I'm very close to the people over at Pixar. I mean, as far as stories are concerned, almost everything we have could be told that way.
We should draw on our story, we should draw on our history. If we don't know who we are, if we don't know how we became what we are, we're going to start suffering from all the obvious detrimental effects of amnesia.
My husband is old-fashioned and kind, he does the greatest Sinatra impression, and I'd never have written anything if he hadn't read all those bedtime stories and unloaded the dishwasher while I slaved over chapters.
The market for short stories is hard to break into, but a magazine editor isn't always looking for big names with which to sell his magazine - they're more willing to try stories by newcomers, if those tales are good.
And once you live a good story, you get a taste for a kind of meaning in life, and you can't go back to being normal; you can't go back to meaningless scenes stitched together by the forgettable thread of wasted time.
I guess that's the story of life: what you most fear never happens, but what you most yearn for never happens either. This is the difference between life and fiction. I suppose it's a good trade-off. But I'm not sure.
I've told stories about people coming to my office and giving me their coats and requesting that I hang them up and get coffee - which I dutifully do. And then I come in and sit at the head of the table. It's awkward.
The bible must be seen in a cultural context. It didn't just happen. These stories are retreads. But, tell a Christian that -- No, No! What makes it doubly sad is that they hardly know the book, much less its origins.
I'm the least confident person in so many ways. But I believed that if somebody gave me the chance to tell a story, I would tell a story [well enough] that the person who gave me the chance would get their money back.
I want you to hear how I can tell stories. I want you to hear how I can make these records about these females and make them feel every way I can. I want you to feel my magic. I want you to respect me and my artistry.
If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.
I had a calling, this is what happened, I've explained the story many times. I've had my priest on, I've had atheists on. When I explain my conversion to atheists, my personal series of events, they go, "Oh, alright."
I can't recall a story that played out exactly as I'd expected it to. That's one of the thrills of journalism - being surprised, and learning new stuff, but it also poses the biggest challenge to a writer's character.
The unreliable narrator is an odd concept. The way I see it, we're all unreliable narrators of our lives who usually have absolute trust in our self-told stories. Any truth is, after all, just a matter of perspective.