Quotes of All Topics . Occasions . Authors
I've always known when I start a story what the last line is. It's always been the case, since the first story I ever wrote. I don't know how it's going to get there, but I seem to need the destination. I need to know where I end up. It never changes, ever.
I've done two albums for Concord Records; one was with Al Jarreau and it did very well for us. The second album was called 'Songs And Stories,' and it had good songs and good performances, but I promised them I would do an album that was more jazz-oriented.
If we'd lived in England or America we'd have told stories abut our lives and nobody would have called it protest theatre. But the reality of South Africa was the arrests and detentions and oppression - we could not escape that, so we decided to take it on.
My dad would tell me bedtime stories, and he used to always leave them open-ended and finish at a crucial point with the words, 'dream on'. Then it was my responsibility to finish the story as I was drifting off to sleep. We would call them dreaming stories.
Make the short story tremendously succinct - with a very short pulse or rhythm - and the closest selection of detail - in other words summarise intensely and deeply and keep down the lateral development. It should be a little gem of bright, quick, vivid form
No matter how good a story is, if you're at a newsstand and you see a lot of comic books, you don't know how good the story is unless you read it. But you can spot the artwork instantly, and you know whether you like the artwork, whether it grabs you or not.
If you are writing a story and trying to draw an audience to come and hear you tell it, it's got to in some way relate to them. Who wants to come and hear about your specific problems? It's not therapy - it's supposed to be a communal piece of entertainment.
Being at a film festival reminds me of the power of film. The power that we have in our hands. Telling specific stories about personal matters can start the debate that is needed today, and that connect you with realities that you had no idea were connected.
In terms of Bridget [Jones] I honestly don't know. One thing I can say for sure is that all of these stories have been an honest, instinctive expression of something I felt or observed at the time. I would never cynically think "Oh that would sell well next."
[James] Baldwin was a revelation for me, the kind of revelation that follows you all your life because you can go back to it. It's not just about stories. It's about philosophy. It's about criticizing the world. It's about deconstructing the world around you.
When you understand, that what you're telling is just a story. It isn't happening anymore. When you realize the story you're telling is just words, when you can just crumble up and throw your past in the trashcan, then we'll figure out who you're going to be.
I’m not a child. (Zarek) No, you’re not a child. You never were. Children are supposed to be protected and cared for. You had no one to hold you when you cried. No one ever soothed you. They never told you stories or made you laugh when you were sad. (Astrid)
When I do watch shows, or projects that I've been a part of, I'm pretty good at watching them objectively. And that's mostly because I want to see how it came out overall, what the overall story was and how it came together visually, what my mates were doing.
Sometimes I'm considered, I guess, a subtle actor. Maybe I'm less of a showman and more just trying to tell the story. I don't know what the perception is. I just want to tell the story so the story as a whole works as opposed to just making sure that I work.
I remember, when I was at school, we would have a 10-minute storytelling session where we'd all sit on the floor cross-legged, and the teacher would read. It became something we all really looked forward to. That was part of the reason I grew to love stories.
Expectations shouldn't be lowered, even if Donald Trump was just telling stories to impress the crowd around him and never grabbed as many women as he suggested. Lower the bar for what you can talk about, and you lower the bar for what is acceptable behavior.
When I was growing up, my favorite movie was 'Somewhere in Time' with Christopher Reeve, which is a hugely romantic, sappy movie. I couldn't understand it when the guy didn't get the girl or the girl didn't get the guy in love stories. I was definitely a sap.
Traveling around the country, meeting fans and hearing their stories in person and on my radio show has reenergized my commitment to creating honest and inspirational content that not only serves my own creative purposes but can help and touch others as well.
The buildings that were in question, they said in the same report, which was - actually, it wasn't even a bad story, to be honest with you, but the buildings are worth $3.9 billion. And the $650 isn't even on that. But it's not $650. It's much less than that.
I became more curious about the story behind the story [in the House of Cards]. So what was really going on behind the headline? And it's a little bit sad that that show, it doesn't seem so much like entertainment the way it did back when we started doing it.
I had an idea in the beginning to do a book about some of the events that I had covered, just various stories that I've covered. Reporters spend a lot of time telling each other tales about how they covered stories, and that's what this book started out to be.
Telling the story with only a few shots, I love that style. It makes you feel like you're part of the action, part of the story. It reminds me of the theater, where one act is basically like one long shot. It almost makes you forget that you're seeing a movie.
When I came to the United States in 2004 to attend university at Stanford, I was instantly inspired by the stories and advice from startup leaders in Silicon Valley and beyond, who had endeavoured to create new opportunities and improve lives around the world.
I learned in architecture that you have to have a real plan. You have to have a client, they have to have distribution, start-up money, and have a vision of where it's going to go. All this has to be settled before you start, or else your work is just a story.
My interest as an artist is to illuminate the lives of black folks. I definitely am focused on films that illustrate all that we are and all our nuance and all our complicated beauty and mess, and when you're telling those stories, you gotta have black actors.
The story itself, the true story, is the one that the audience members create in their minds, guided and shaped by my text, but then transformed, elucidated, expanded, edited, and clarified by their own experience, their own desires, their own hopes and fears.
The short story is not as restrictive as the sonnet, but, of all the literary forms, it is possibly the most single-minded. ...at the end there has to be the literary equivalent of the magician's puff of smoke, an outcome that is both startling and anticipated.
In documentary filmmaking, there's a tradition of telling stories about victims. We often do that from a very patronizing place, but mostly we do it from a very selfish place, to reassure ourselves that our lives are in sympathy and solidarity with the victims.
What we're really trying to tell, even though it's very much a genre show, is a very human story. Even in this heightened situation, it still comes down to people being people, and dealing with people as people. It really is about the seven people in that town.
I knew that a historian (or a journalist, or anyone telling a story) was forced to choose, out of an infinite number of facts, what to present, what to omit. And that decision inevitably would reflect, whether consciously or not, the interests of the historian.
The story of Kal-El is actually a great story about adoption. He is an alien who has embraced his human side. As much as he loves and honours his heritage, and he needed to know where he came from and discover who he was, he has to decide who he is going to be.
I think, in some ways, that is the balm of stories, of fables, of tales: it's the way we're wired. We have always needed to distill what we're going through and try to understand it by looking either backwards or forwards. And the hardest is to look in the now.
The last copy of the Chicago Daily News I picked up had three crime stories on its front page. But by comparison to the gaudy days, this is small-time stuff. Chicago is as full of crooks as a saw with teeth, but the era when they ruled the city is gone forever.
New content online no longer requires new stories or information, just new ways of linking things to other things. Or as the social networks might put it to you, 'Jane is now friends with Tom.' The connection has been made; the picture is getting more complete.
The deadlines are much, much longer with books. When I was a reporter, a lot of times I'd come in at 8:30 a.m., get an assignment right away, interview somebody, turn the story in by 9:30, and have the finished story in the paper that landed on my desk by noon.
Even if you're an observer of a story that you yourself made up, you're still very much connected to it. You love it and feel it, no less than somebody's who's writing from their direct 'I' or 'me.' I'm just so much more interesting in stories than confessions.
The story of the memoir is a story of me creating certain narratives so that I could live with my own experience and with the uneasy relationship between what I was doing and what I believed in - or what I saw as an uneasy relationship between those two things.
TV has a longer narrative, and TV's more like short stories. So there's less rules with TV; you can make it a little bit different. [With] movies, the medium has more constraints, so it was just about what stories are the most cinematic and the best resolution.
The improbability of a malicious story serves but to help forward the currency of it, because it increases the scandal. So that, in such instances, the world is like the pious St. Austin, who said he believed some things because they were absurd and impossible.
Take a brilliant, creative social scientist, without any respect for conventional wisdom and you get Ellen Langer. She is a fantastic storyteller, and Counterclockwise is a fascinating story about the unexpected ways in which our minds and bodies are connected.
You always hear these stories of how Hollywood is so merciless on composers and how they all get beaten up. Nobody beats me up as much as I beat myself up. This is what I love doing and I have one life to do it in, and I better do it right. I better do it well.
Being an African filmmaker, Africa is what's important for me. If I were to shot a film in France or elsewhere it would only be because the story that was being told was something that concerned me, and that really called me or needed to be shown on the screen.
I can easily come up with ten really iconic stories/trade paperbacks for Superman, Batman, others... name me ten equally big, iconic Wonder Woman stories. Much harder. That ain't the character's fault, that isn't sexism, that's just not servicing the character.
The light that has guided us is still unquenched, and the causes that have carried us so far in the van of free nations have not spent their power; because the story of the future is written in the past, and that which hath been is the same thing that shall be.
When I was very young, I was already a fabulador. I loved to give my own version of stories that everybody already knew. When I got out of a movie with my sisters, I retold them the whole story. In general they liked my version better than the one they had seen.
The forms of the short, written poem as they have been developed in English over the past few centuries can be usefully seen as compressed, truncated, or fragmented imitations of other verbal forms, especially the play, story, public oration, and personal essay.
My family sits around and tells all these amazing stories of pirates and the wa. Then one day I'm having a beer after shooting an episode of 'Thank God You're Here,' and started telling Dave Hughes some stories, and he said, 'You've gotta turn this into a book.'
The signs of excessive indulgence in this destructive pastime are easily detectable. They are these: A disposition to eat, to drink, to smoke, to meet together convivially, to laugh, to joke, and tell indelicate stories— and mainly, a yearning to paint pictures.
I know if I told you what God looked like and felt like then I'd be telling you a story. I just think we don't know. God manifests himself, herself or itself in a way that we need it, in a way that we can grab a hold of and a way that we can put our arms around.
I now possess the tools as a producer and a songwriter to really just go out and make smashes all day long. I could make an album full of smash records that got pop appeal. But my heart is in hip-hop. My heart is in telling stories. And it's like therapy for me.