Quotes of All Topics . Occasions . Authors
Rather than doing the kind of fact-checking that normally goes with a story, you ran with certain stories for not wanting to get beat. There's a pressure that exists in your profession. I would be surprised in any honest exchange that you say that doesn't exist.
Always in the short story there is this sense of outlawed figures wandering about the fringes of society.... As a result there is in the short story at its most characteristic something we do not often find in the novel--an intense awareness of human loneliness.
I guess the story that best defines us [with Bud Yorkin] and our relationship goes back to the [Dean] Martin and [Jerry] Lewis show. The four stage managers on that show became major TV creators and directors - John Rich, Jack Smight, Arthur Penn and Bud Yorkin.
I didn't realize when I brought him back here that you'd inflict more damage." I said, once I'd finished the story. "I was defending your honor." Adrian gave me that devil-may-care smile that always managed to both infuriate and captivate me. "Pretty manly, huh?
I hardly know what I'm going to write - an article, a story, a poem in free verse - or in some regular form. I only know that when I have the first sentence. And when the first sentence makes a kind of pattern, then I find out the kind of rhythm I'm looking for.
My father belongs to the generation that fought the war in the 1940s. When I was a kid my father told me stories - not so many, but it meant a lot to me. I wanted to know what happened then, to my father's generation. It's a kind of inheritance, the memory of it.
My favorite song is called 'Reachout.' There are so many different stories told in that song. I think anyone who listens to it will gather a different meaning, but each answer is true. I also like the sound of it, period - there are a lot of classical influences.
If I get blocked, it is generally because I don't know enough about some aspect of the story or the characters. The answer for this is generally more research, or making more background notes, so the place and person can be more fully realized inside my own mind.
Dominion is a spy novel, a love story, and also I hope gives some sense of the difficulties faced by dissidents under any totalitarian regime: the threat of imprisonment, torture and death; the threat to one's family, the terror of being alone in a hostile world.
I like any story that starts one place and really takes a huge journey to a whole new place; that people in their life want to take that journey. They want to be able to find things in their life that aren't working and work through them to a new place of change.
In Hollywood, more often than not, they're making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone.
That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.
The novel...creates a bemusing effect. The short story, on the other hand wakes the reader up. Not only that, it answers the primitive craving for art, the wit, paradox and beauty of shape, the longing to see a dramatic pattern and significance in our experience.
Spirituality promotes passivity when the domain of spirit is defined as outside the world. When this world is the terrain of spirit, we ourselves become actors in the story, and this world becomes the realm in which the sacred must be honored and freedom created.
I love storytelling, you know, beyond anything. I love a great story beyond a great performance. Storytelling is about what we all do together and how we collaborate together. A performance can be a collaboration in ways, but oftentimes it's one individual thing.
I used to retain information extremely fast, so perhaps it's hardening a bit and I don't take the impression as well as I used to. Instead of writing in free flight, I had to check on the stories all the time. So I have decided I better to do it while I am fresh!
It has always seemed to me that if you could talk about your work in fully-formed phrases, you wouldn't write it. The writing is the statement, you see, and it seems to me that the poem or the story or the novel you write is the kind of metaphor you cast on life.
In a weird way, that's the beauty of being an actor. You get to live out things that you're afraid of, and you get to say, 'Well, maybe I can get to the end of it and survive it intact and I can be the hero of my own story.' It's kind of a way of exorcising fear.
Stories heal us because we become whole through them. In the process of writing, of discovering our story, we restore those parts of ourselves that have been scattered, hidden, suppressed, denied, distorted, forbidden, and we come to understand that stories heal.
Telling a story is like trying to eat grapes with a fork. It's always trying to get away from you. And if you're a good author, and you've challenged yourself, and you're telling big stories, there's more and more that's trying to get away from you simultaneously.
One might ask why tobacco is legal and marijuana not. A possible answer is suggested by the nature of the crop. Marijuana can be grown almost anywhere, with little difficulty. It might not be easily marketable by major corporations. Tobacco is quite another story.
But he always licked to get visitors alone in the billiard room and tell them stories about a mysterious lady, a foreign royalty, with whom he had driven about London. 'A devilish temper she had,' he would say. 'But she was a dem fine woman, sir, a dem fine woman.
And Nedley started saying,'Shut Up!Quit that! And i knew it really meant something to him. So I asked for his help,"Mark said. "Don't tell the story like that," Nedley laughed. "What he said was 'Quit pretendin you're a bad guy I need your help, and I need it now!
I just want to tell stories that are meaningful and have inspiration to them; people can watch it and take away something, or maybe they'll just think about themselves differently or think about the world differently. I just want to create characters that live on.
The jokes now, it's just more stories and personal experiences. And just talking about things that really happened. It's just becoming more comfortable as a performer, sharing my opinions on things, or things that've happened to me. That's where it's really going.
We need to encourage black women to know that they are authors of their own destiny, that they have important stories to tell, and that they are capable, so magically capable, of writing them and creating important pieces of work that will live forever in history.
Oldboy makes us feel a part of something bigger than ourselves. It's a grand, gritty, indelible experience, the sort of picture that mimics great literature in the way it envelops you in a well-told story while also evoking subtle but strong gradations of emotion.
I'm of the opinion that the real is imagined and the imagined is quite real. The real is imagined, in the sense that we shape our stories, so anything that even happens on the news gets shaped in a certain way and gets a texture, and that the imagined can be real.
The first time you see the film it takes you right back to those times and those moments. It's very difficult to be objective about the work because you really have to remove yourself and see it a couple of times before you can really involve yourself in the story.
Probably a good idea, let me know how it ends" "I already know how it ends" "You read the ending first?" "I always read the ending before I commit to the whole book." "If you know how it ends, why read the book?" "I don't read for the ending. I read for the story".
The problem is that so many of them are not getting told. This is a massive problem, not just in the Middle East but for places from Africa to Afghanistan. There are millions of stories out there, millions of potential Booksellers of Kabul or Valentino Achak Dengs.
There is seven-eights of it under water for every part that shows. Anything you know you can eliminate and it only strengthens your iceberg. It is the part that doesn't show. If a writer omits something because he does not know it then there is a hole in the story.
What's compelling about the story and what's very honest about the story is that it's very real and it's happening. There are 200,000 women in active duty, and over 40% of them are moms. This experience is shared by thousands of women, and no one is right or wrong.
I'm not sure why, but I seem to be drawn to stories about abuses of power. But I'm also drawn, not so much to victims' stories, as stories that tend to show how power works. Because if you don't understand the criminals, you can't figure out how to stop the crimes.
My mother was a children's librarian. I remember when traditional stories were revised for modern audiences until they bore only a nodding acquaintance with the originals, but were released as 'authentic Indian stories' when they were, in fact, nothing of the kind.
THREE DAYS TO DEAD is one of the best books I've read. Ever. Evy Stone is a heroine's heroine, and I rooted for her from the moment I met her. Kelly Meding has written a phenomenal story, one that's fast-paced, gritty, and utterly addictive. Brava! More! More! More!
my crime books are actually novels and are written as such. One might even say that each one is really two novels, one of which is the story I tell the reader, and the other the buried story I know and let slip now and then into a clue to whet the reader's interest.
Your body is the ground and metaphor of your life, the expression of your existence. It is your Bible, your encyclopedia, your life story. Everything that happens to you is stored and reflected in your body. In the marriage of flesh and spirit divorce is impossible.
In a world where everyone is behaving honestly, any dishonesty constitutes a big infraction. But, in a world where many people are behaving dishonestly, and the news is filled with stories of their infractions, even big infractions can feel small to the perpetrator.
We must begin to tell black women's stories because, without them, we cannot tell the story of black men, white men, white women, or anyone else in this country. The story of black women is critical because those who don't know their history are doomed to repeat it.
And you, Prince Elric? She attracted the albino's wandering attention. Do you know his story? Elric shook his head. I only know, he said, that he is a shape-changer and, that most cursed of souls, a person of rare goodness and sanity. Imagine such torment as is his!
If you just tell the story of what the storys about, then it sparks curiosity, but I think it also arouses suspicion, as you say, that it could be overly sentimental. But it so isnt. And I think it was all about doing the inner work and then underplaying everything.
I think the success of 'Downton' is partly because there are effectively 18 leading characters, all given equal importance, so it's enormously involving on many levels. But also, it's a new story. It's not like Dickens or Austen, where everyone knows the denouement.
Facebook is really about communicating and telling stories... We think that people can really help spread awareness of organ donation and that they want to participate in this to their friends. And that can be a big part of helping solve the crisis that's out there.
Literature offers us all, writers and readers, the best method of discovering and retelling the changing story of ourselves. The story is both journey and surprise. And as everyone knows, even the past is altered, depending on, not the facts, but the interpretation.
Everyone has a story to tell, and in a perfect world, everyone would get the opportunity to tell it. Some of us have the stories, some of us have the words, and some of us have both. Let's honor the portions we bring to the table and give credit where credit is due.
I chose to tell a personal story. When you tell a movie like this that's as emotionally charged as this is, it's a risk. As one of my great cinematic heroes, Francis Coppola, would say, "If you aren't taking the highest, greatest risk, then why are you a filmmaker?"
I know that obviously, that if you want to get the story, if you want to get close to somebody, if you want to find out what is really the truth or what's really interesting, you have to create a trust between these two things, between the journalist and the subject.
Innovation really is the life blood of our American economy... looking back at the stories of Thomas Edison, Alexander Graham Bell, and the Wright Brothers, you look at emergence to technology innovation and what it has done for our economy. We need to continue that.
There are those who believe a liberal or a conservative bias permeates the media. I don't. The operative press bias is one that favors conflict, not ideology, and it is lashed by a market-driven bias to boost ratings or circulation with more wow stories, more sizzle.