Quotes of All Topics . Occasions . Authors
Yeah, I do all the stuff I can. Let’s be frank, if you are in an action film, you are not in it for the characters, you are in it for the action – the stunts. If they take that away from you, it’s a sad story. Ha ha! I have damaged everything: knees, elbows, ribs. But I’m an old gymnast. I know how to survive.
Each of us chooses the tone for telling his or her own story. I would like to choose the durable clarity of a platinum print, but nothing in my destiny possesses the luminosity. I live among diffuse shadings, veiled mysteries, uncertainties; the tone of telling my life is closer to that of a portrait in sepia.
My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.
In order for us to have changes in society, we have to do a better job with listening to each other, listening to stories, listening to experiences and sharing things. That's the way you're able to come to a better understanding of people in general. We have to do a better job in society. It starts at the top.
I became more interested in the idea of being an immigrant and particularly of being in a country you're not familiar with. And so I began reading migrants' stories. The fact that my father is Chinese - he emigrated from Malaysia when he was about 20 - may have had some bearing on my attraction to the subject.
The truth of the matter was stories was everything and everything was stories. Everybody told stories. It was a way of saying who they were in the world. It was their understanding of themselves. It was letting themselves know how they believed the world worked, the right way and the way that was not so right.
Dolls, perhaps more than any other object, demonstrate just how thin the line between love and fear, comfort and horror, can be. They are objects of love and sources of reassurance for children, coveted prizes for collectors, sources of terror and horror in numerous movies, television shows, books, and stories.
When I was writing 'The Windup Girl' and 'Ship Breaker,' I was writing those simultaneously, so I was an unpublished writer, not really having that full sense that these books would go out in the world, that they would be successful, that there would be an audience and that there would be fans of those stories.
It was possible, maybe, to have facts in your mind that weren't facts at all. You could build a whole life's story on false assumptions. You could make truths out of untruths and untruths out of truths. Until you spoke them, really said them out loud or checked for sure, you may not have known which were which.
I see film as a real opportunity to examine the human condition. No matter where the technology goes in the future, the basics don't change. Storytelling is a primitive tribal function. The elders sat around the fires and told these stories as a way to pass on the 'dos' and the 'don'ts.' That will never change.
We did 'The Conversation' on the Zeus network because we already are on TV and we felt like us being our own therapists could work. We tried it. We just gave it a shot since we already on blast and everybody creating their own stories about what they see. Just tried to give it a shot. Did it help? I don't know.
'Who are we?' And to me that's the essential question that's always been in science fiction. A lot of science fiction stories are - at their very best - evocations of that question. When we look up at the night sky and wonder, 'Is there anyone else out there?' we're also asking who we are we in relation to them.
History, in the end, is only another kind of story, and stories are different from the truth. The truth is messy and chaotic and all over the place. Often it just doesn’t make sense. Stories make things make sense, but the way they do that is to leave out anything that doesn’t fit. And often that is quite a lot.
According to Chekhov," Tamaru said, rising from his chair, "once a gun appears in a story, it has to be fired." "Meaning what?" "Meaning, don't bring unnecessary props into a story. If a pistol appears, it has to be fired at some point. Chekhov liked to write stories that did away with all useless ornamentation.
I seem to know all the cliches, but not how to put them together in a believable way. Or else these stories are terrible and grandiose precisely because all the cliches intertwine in an unrealistic way and you can't disentangle them. But when you actually live a cliche, it feels brand new, and you are unashamed.
A lot of Christians have been taught a story that begins in chapter 3 of Genesis, instead of chapter 1. If your story doesn't begin in the beginning, but begins in chapter 3, then it starts with sin, and so the story becomes about dealing with the sin problem. So Jesus is seen as primarily dealing with our sins.
The enjoyment we get from something is powerfully influenced by what we think that thing really is. This is true for intellectual pleasures, such as the appreciation of paintings and stories, and it is true as well for pleasures that seem simpler and more animalistic, such as the satisfaction of hunger and lust.
The world comes to us in fragments and shards. Whatever stories we shape from our days, we're always dealing with gaps, blank-spots, and blackouts - and in handling all these breakages, we are, at all times, so incredibly intimate with sharp edges, the unending knife-like moments of failure and joy in our lives.
"Tabernacle" was probably the easiest song I'd ever wrote because all I really had to do was rhyme the words since the whole story, front to back, was already in my head. All I needed to do was verbalize it, and if it didn't have to rhyme I could've just freestyled it because I already knew what I wanted to say.
The only thing going on is the progression of words and sentences across page after page and so suddenly we see this immersive kind of very attentive thinking, whether you are paying attention to a story or to an argument, or whatever. And what we know about the brain is the brain adapts to these types of tools.
Meek's Cutoff by Kelly Reichardt. It's beautifully shot. It's a complex story. The filmmaker gave a very patient and feminine touch to a story that takes place during a period of history that's very masculine, without losing any of the unforgiving harshness of the reality where the characters found themselves in.
But he [Franklin Roosevelt] specifically prohibits any black participation from the Deep South, something which just infuriates people who'd been his supporters and who'd believed in him and resides that he is just shockingly abandoned the right of the people to rule. It's a pretty horrible story in that respect.
But nearly every woman I know has a roughly similar story - in fact, dozens of them: stories about being obsessed with a celebrity, work colleague or someone they vaguely knew for years; living in a parallel world in their head; conjuring up endless plots and scenarios for this thing that never actually happened.
This story is about the Baudelaires. And they are the sort of people who know that there’s always something. Something to invent, something to read, something to bite, and something to do, to make a sanctuary, no matter how small. And for this reason, I am happy to say, the Baudelaires were very fortunate indeed.
How much energy is wasted in Italy in trying to write the novel that obeys all the rules. The energy might have been useful to provide us with more modest, more genuine things, that had less pretensions: short stories, memoirs, notes, testimonials, or at any rate, books that are open, without a preconceived plan.
What happens in animation is that you don't really start the story until you're boarding it, which usually means that you've gotta go through some sort of a script phase. And you can get caught in the doldrums there, overdeveloping that, when you don't really know what you have until you put it up in storyboards.
I would love to sign on to do a movie if it was the right role and if it was the right script, because I would be taking time away from music to tell a big grand story, and spend all of my time and pouring all of my emotions into being someone else. So for me to do that, it would have to be a story worth telling.
Culturally, I have always been part of the proletariat. I lived side by side with the sons of glassblowers, fishermen and smugglers. The stories they told were shaper satires about the hypocrisy of authority and the middle classes, the two-facedness of teachers and lawyers and politicians. I was born politicized.
Ive always loved the power of stories to transport me to another world, to imagine extraordinary possibilities, to experience things I may not have access to in my regular life - like being a superhero! Also, I would always put on shows for my family and the neighbors; I guess I was an actor before I even knew it.
I went to film school so I have a writing and directing background, and I think a lot of the material I'm interested in writing and getting out there is stories about anti-heroes and people you should just not ordinarily root for - trying to figure out a way of appealing to people they wouldn't normally appeal to.
You can tell a true war story by the questions you ask. Somebody tells a story, let's say, and afterward you ask, 'Is it true?' and if the answer matters, you've got your answer . . . Absolute occurrence is irrelevant. A thing may happen and be a total lie; another thing may not happen and be truer than the truth.
I do have a stunt double because there are certain things that they won't let me do. Like they won't set fire to me. They won't like let me jump off a 20 story building. There are certain big stunts that it's just impossible to get insurance to let me do, but for the most part I'd say I do probably 75% of my stuff.
I used to be like "Why are we doing a remake? What are remakes being done for?" But then, we do that all the time in the theater. Retelling stories is what we've done since we were sitting around campfires. It's a part of the human spirit. It doesn't have to be negative to creativity. It can be completely opposite.
From Borges, those wonderful gaucho stories from which I learned that you can be specific as to a time and place and culture and still have the work resonate with the universal themes of love, honor, duty, betrayal, etc. From Amiri Baraka, I learned that all art is political, although I don't write political plays.
There are a lot more tabloids in England that like to report other things in your life, some of which are true and some of which are exaggerated and untrue. There have been stories where people claim to have seen me in one place and I wasnt even in that city then. The Aussie press is more judgmental and moralistic.
I think, in Japan, animation isn't relegated to being a genre unto itself. It's just a medium by which you can tell any number of stories, be it horror or action or adventure or drama or whatever, and we're trying to do that as well. Every film that you go see from Pixar, we're hoping is a little bit of a surprise.
So I found myself telling my own stories. It was strange: as I did it I realised how much we get shaped by our stories. It's like the stories of our lives make us the people we are. If someone had no stories, they wouldn't be human, wouldn't exist. And if my stories had been different I wouldn't be the person I am.
I always overwrite - really awful, long bits of script - and then I trim it down to the bare bones and then add a little bit to colour it in. At the end of all of my stories, I test for wordless comprehension. So I remove the text and see if it works by itself. And if it does, I feel that that's a successful story.
By telling stories, you objectify your own experience. You separate it from yourself. You pin down certain truths. You make up others. You start sometimes with an incident that truly happened, and you carry it forward by inventing incidents that did not in fact occur but that nonetheless help to clarify and explain.
A dependent clause (a sentence fragment set off by commas, dontcha know) helps you explore your story by moving you deeper into the sentence. It allows you to stop and think harder about what you've already written. Often the story you're looking for is inside the sentence. The dependent clause helps you uncover it.
I used to sneak up to the 8th floor and watch Eddie Murphy and Joe Piscopo rehearsing 'Saturday Night Live' and could only wonder if I would ever have the chance to be funny. It took me five years to go up the two stories, but it is such a sense of fulfillment to be able to show what I can do on national television.
Once upon a time, began the story of you.Many perilous, wonderful, harrowing, brilliant, delightful, profound things happened.And yet—the most exciting twists and best turns are yet to come. And it absolutely does not matter how old or young you are.Like a bright carpet of wonders, enjoy the unrolling of your story.
Give, give, give - what is the point of having experience, knowledge or talent if I don't give it away? Of having stories if I don't tell them to others? Of having wealth if I don't share it? I don't intend to be cremated with any of it! It is in giving that I connect with others, with the world and with the divine.
Story ideas, but it's also musing on stuff that I'm thinking about. This leads me to this and this leads me to this. They're kind of random and haphazard. Often I can't find anything. Somehow, by doing that, even though I don't necessarily refer to them in a specific way, I have some sort of architecture in my head.
I'm a big John Steinbeck fan. Cormac McCarthy. I've always loved the stories of regular people. Mark Twain, too. When you look back at some of the epic writers of our country's history, very rarely do you find upper-class royalty. We seem to delve into the struggle of life and the labor of life much more frequently.
I love the idea of the teachings of Jesus Christ and the beautiful stories about it, which I loved in Sunday school and I collected all the little stickers and put them in my book. But the reality is that organised religion doesn't seem to work. It turns people into hateful lemmings and it's not really compassionate.
There are multiple shows of record about a late-transitioning patriarch and how the kids are affected, and there are multiple narratives. That narrative on "Keeping up with the Kardashians," the answer is, they're pretty much fine. It's the same sort of story we were telling which is, you know what? Everybody's okay.
My family life reads a bit like 'Little House on the Prairie.' I was big sister to Joan, Renee, and brother William, and we grew up in Dalkey, a little town 10 miles outside of Dublin. It was a secure, safe and happy childhood, which was meant to be a disadvantage when it comes to writing stories about family dramas.
On the day my daughter was born, I started writing a book for her. The plan was that, over the course of her life, I'd fill it with advice on how to be a strong woman. But along the way, I got caught up in the stories of Amelia Earhart, Sally Ride, and so many others. So how do you pick the best heroes for your kids?
It's really quite an interesting dynamic. I wanted to play to the truth of who Manute was in the first film, while it's also a prequel and the originator [of the story]. It was an interesting dynamic to work with, definitely. I haven't seen the film yet, but the way it felt when I was doing it, it felt like it worked.