Quotes of All Topics . Occasions . Authors
I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
A lot of the ancient Norse myths and legends are the basis of a lot of the sci-fi, fantasy films out there. Telling these stories in a contemporary medium, it's all good.
There are lots of stories in pop music, lots of lush orchestrations, lots of attention to detail. You just have to know where to find them. The best stuff is never overt.
The big influence on me was Robert Altman, who, especially in 'Nashville,' transformed my sense of dramatic structure and showed how you could handle overlapping stories.
I really love the process, with stage, of rehearsal, you get to create a character, and you have a beginning, a middle, and an end of story. And in television, you don't.
I've tried to consider stories that I have read, making them into films, but they would turn out unnatural. If a producer wants that, he should call other people. Not me.
It is the story that owns and directs us. It is the thing that makes us different from cattle; it is the mark on the face that sets one people apart from their neighbors.
A book is basically just symbols arranged to form this story, this world. But on the other hand, books, novels, literature in general, is what shows us at our most human.
Some stories or passages are more difficult and demand more fussing with than others, but, in general, I'm a two-draft writer rather than a six-draft writer, or whatever.
Ideally, I'd like every issue to include a diverse group of stories that meet the qualifications sketched above, but covering a wide range of specific matter and flavour.
When you're a screenwriter, it's like being a mechanic. You open the hood of the story, the director is the driver, and he says, "What do you think? It's a little tough."
Ideologically, I have a lot of problems with that, especially when people toss around that form of story as realism. What's called "realism" is actually highly formulaic.
The power that comes from knowing the facts of history is dwarfed by the power that comes from being able to shape the stories about how that history is written and told.
Remember the guy in the 80s walking around with a boombox on his shoulder? Why'd he do that? Because it told a story about who he was. Expressing yourself is big business.
Some of my favorite scenes aren't in the movie. Because you, at some point, realize that your responsibility as director is purely to the story. It's not to your pleasure.
I was realizing, for the first time, that everything goes on, turns gray, is ruined in the living. That there is no end to our story until death comes and the body decays.
I knew little, but at least I knew that: no one could speak for someone else. That although we might want to tell other people's stories, we always end up telling our own.
Ratings have changed, viewer habits have changed and the options for the audience have grown enormously, but I don't think how you tell a story is fundamentally different.
I'm afraid one thing - I don't like heights. Heights bug me out. I'm not cool with heights. I refuse to do a comedy show 12 stories up. I'm fearless about everything else.
In a lot of cases, as in Tom and Nicole's case, the tabloids were about to break the story, so they said just let the news out. And they called organizations such as ours.
There are tons of stories out there. I read a lot of scripts on a weekly basis. I'm looking for stories to tell and stories that I hope will be interesting to an audience.
On one tour, I was collecting stories about pet monkeys. You'd be surprised how many people have stories about monkeys. The problem is, most monkey stories end tragically.
Literature makes history come to life. It is maybe the most accurate depiction of history, especially literature that was written in the time period depicted in the story.
A story comes into your head fully formed, you know exactly the place, the setting, the people. All you've got to do is get it our and written as soon as you possibly can.
There's been so many stories throughout the league where teams have started off poorly and ended up in the Finals. Or teams starting out great and not making the playoffs.
The story of English spelling is the story of thousands of people - some well-known, most totally unknown - who left a permanent linguistic fingerprint on our orthography.
I must have been 3 years old or less, and I remember paging through these comics, trying to figure out the stories. I couldn't read the words, so I made up my own stories.
What really bothers me, what gets me mad, is when people don't know the story, but then pretend like they know the story. That's what bothers me. That's what makes me mad.
Maybe the hardest lesson is the one I have to learn over and over again, that each story is its own animal, that every story I write is going to come only with difficulty.
My life has been a dream. If someone had to write a story about it, it would seem a little unreal. It's the kind of story I would read and say, 'Nah, that's not possible.'
I really love storytelling, and I love the stories as they reveal themselves. It's an incredibly nourishing process; it's probably the closest I come to having a religion.
Some of the best things that have happened in my stories have happened seemingly of their own accord. The writer becomes a listener, just writing things down as they come.
I mean, sometimes we do do that, The National Anthem was a caustic satire and sometimes that's the way to go with the story rather than me being particularly misanthropic.
In the frantic search for an elusive 'cure,' few researchers stand back and ask a very basic question: why does cancer exist? What is its place in the grand story of life?
From the American retelling of Romeo and Juliet in West Side Story to the Japanese adaptation of King Lear in Ran, Shakespeare's cultural influence is virtually limitless.
I only produce things that have so much in common with what I like. I wanna understand what I'm doing. I wanna understand the instincts that are going to inform the story.
I think Americana music is music that is generally more singer/songwriter oriented. It has more to do with the songwriting. The music, it's more like stories set to music.
Basically the children who watch it just see the little characters they love, and so they're not discerning about whether it looks great or it's a great story or anything.
I am primarily a loner. I don't go to clubs. I don't hang out with people. I don't know many people. It's just the way it ended up. It's not a sob story; it's fine for me.
The stories I'm interested in are challenging ones, and maybe that requires a little bit more of you. I love my job and I want to earn the right to do it every single day.
Stick a shovel into the ground almost anywhere and some horrible thing or other will come to light. Good for trade, we thrive on bones; without them there'd be no stories.
I was keenly aware that I had a unique opportunity, a front row seat, on an unfolding story and nobody else was going to see it from quite the vantage point that I saw it.
For me the thing that signals a great story is what we might call its autonomy, the fact that it detaches itself from its author like a soap bubble blown from a clay pipe.
Some photographs are like a Chekhov short story or a Maupassant story. They're quick things and there's a whole world in them. But one is unconscious of it while shooting.
There's an old story about the person who wished his computer were as easy to use as his telephone. That wish has come true, since I no longer know how to use my telephone.
In detective stories . . . I alternately identify myself with the murderer and the huntsman-detective, but . . . there are those to which this vicarious outlet is too mild.
When AIDS was at its most brutal, frightening, my-God-what-are-we-going-to-do era, that was when vampire stories and stories about blood and trust swept the literary world.
I don't pare down much. I write the beginning of a story in a notebook and it comes out very close to what it will be in the end. There is not much deliberateness about it.
Isn't the first story told in the West about the Fall? Adam and Eve were immigrants too from somewhere, a lost Eden, a paradise lost. We all now are so mobile, so nomadic .
My filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do.