Quotes of All Topics . Occasions . Authors
All writers start with a layer of truth, don't they? If not, their stories would be nothing but spools of cotton candy, a fleeting taste wrapped around nothing but air.
I always wanted to tell stories. From the time I had 20 cents or a quarter in my pocket, I could peddle my old Rambler 500 down to the corner store and buy comic books.
When you put yourself in environments that continually test you, that's where all the good stories come from. That's where the jokes come from is from the shitty parts.
That is the wonderful ecological mind that Gregory Bateson talks about - the patterns that connect, the stories that inform and inspire us and teach us what is possible
As much as it's really important, obviously, as a woman in the industry to be choosing the stories which represent women, you also have to keep an eye on the male side.
Artists and writers have to deal with the element that makes the real real and the dream real while you are dreaming it. That's where stories and poems get their power.
Every fighter has a story that could break your heart. We lose, we get hurt and everything comes apart. That's when it's so difficult to stay on the straight and narrow.
For me, photographs take their power from memory and emotion. A picture tells its own story, shaped by the mood or insights of the person you are at the time you see it.
At some point, you have an opportunity to not be a first-time filmmaker anymore. You can embrace the genre and show the world how you can tell stories on a bigger scale.
I really believe it's the moments we can't talk about that become the rest of our lives. It's the moments we can't process by telling a story that destroy us in the end.
Now I basically just read spy stories because they're about solving a puzzle within the constraints of history. It's the tick tock, the clockwork that I'm interested in.
When you are in your teenage years you are consciously experiencing everything for the first time, so adolescent stories are all beginnings. There are never any endings.
In those days I learned that nothing is more frightening than a hero who lives to tell his story, to tell what all those who fell at his side will never be able to tell.
People are much deeper than stereotypes. That's the first place our minds go. Then you get to know them and you hear their stories, and you say, 'I'd have never guessed.
You know, Motorcycle Diaries has no incredible stories, no sudden plot twists, it doesn't play that way. It's about recognizing that instance of change and embracing it.
Ego is certainly there in many of the greatest and most dizzying tales of success - but it's there in some of the greatest stories of failure and self-implosion as well.
I have watched constantly that in our work the highest moral and spiritual standards are upheld, whether my productions deal with fable or with stories of living action.
Evolution isn't just a take-it-or-leave-it story about where we came from. It's an epic at the centre of life itself. It tells us we are part of nature in every respect.
Anytime I've ever been involved in a non-linear story, you see it in a linear manner first, just to make sure it makes sense, and then you chop it up and move it around.
I just heard a story from someone the other day where somebody was beaten up by Christians for wearing one of our shirts. Of course, that's a very Christian thing to do.
It is not usually possible in a poem or a story to make the relationship between particular and universal fully explicit. Those who try to do so end up writing parables.
I'm always writing across the same themes. But with short stories, I'm doing something different than with novels. In some ways, they're coming from a much deeper place.
To me, the difference between mythology and real history is that the real history has to tell a kind of believable story of how things happened. The physics has to work.
Any carefully planned thing destroys the creativity. You can't think your way through a story; you have to live it. So, you don't build a story; you allow it to explode.
Like most writers, I sit in a room and scribble a story and you don't have a connection with the people who take your story, whether it be to the stage or to the screen.
We are all the heroes and heroines of our own lives. Our love stories are amazingly romantic; our losses and betrayals and disappointments are gigantic in our own minds.
Pulling weeds and planting seeds. That's the story of life. We are individual lots on which either weeds of selfishness or fruit of the Holy Spirit grows and flourishes.
We want to hear the story first and let the meaning unfold, rather than to be present with expectations of a certain significance into which all behavior is then fitted.
For years, Mount Holyoke professor Joseph 'Full Metal Jacket' Ellis had been regaling students, interviewers and friends with gripping stories of his service in Vietnam.
I don't think you can really make television based on what you think audiences want. You can only make stories that you like, because you have to watch it so many times.
I would love to keep playing roles where I get to inspire young women, and I get to uplift them and tell their stories and tell important stories that haven't been told.
For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.
I am only a mouthpiece through which to tell the story of lynching and I have told it so often that I know it by heart. I do not have to embellish; it makes its own way.
I’m a poet. And then I put the poetry in the drama. I put it in short stories, and I put it in the plays. Poetry’s poetry. It doesn’t have to be called a poem, you know.
The first syndicating I tried was when two partners and I created a production company in 1952. We wanted to syndicate famous Bible stories and sell them for $25 a show.
Our stories about our own lives are a form of fiction, I began to see and become more insistent as we grow older, even as we try to make them come out in some other way.
I don't know what makes a good feature story. I've always assumed that if it was a story that interested or amused me, that it would have the same impact on other people.
Ive got a ton of stories about Chuck Knox, ... Over the course of my playing career, there was nobody that I learned to respect and appreciate more than I did Chuck Knox.
They suggested I should introduce an element of reincarnation in the story. At first, I thought that was silly. But then, this whole time dimension began to fascinate me.
I used to be addicted to 'Reader's Digest' growing up. I would read the stories about love, and I guess that's where I became a hopeless romantic. I draw from that a lot.
I would recommend the short story form, which is a lot harder to write since you have to be so careful with words, until there is plenty of time to doodle through a novel
Tom [Cruise] is a great producer himself. He's got great sense of story. It's always great to have the perspective of the person who's playing the character in your film.
I could never do just one thing, but everything I do is in the direction of stories. Sometimes writing them, sometimes showcasing them, sometimes letting people see them.
I don't have any regrets about the album [Veedon Fleece]. But it's the same old story - an album is basically 35 or 40 minutes of what you do. It's 'part' of what you do.
I see myself as a storyteller. So, when I read something, I see the story, and I see it on screen, in my head, in a certain way. I always want to see it and see me in it.
[Donald Trump] is saying that these stories of A-listers turning him down, "We're not asking 'em. I want the people at my inauguration." And I think that's probably true.
Usually when I read something, first of all I'm looking for the story and then when I reread it, I'm sort of checking every part of it to see if every scene is necessary.
I rarely return to characters. My characters, at least most of them, are much more a part of that superorganism that is the story than separate and independent creatures.
This was my first novel [The Dissemblers ]. I've never seriously written short stories, and actually find short stories much more intimidating as an art form than novels.
I want to be a proud daughter of Punjab. Celebrate my roots - fly, flourish, write stories, characters. Don't hold me and my voice to ransom. Enable me, don't disable me!