Quotes of All Topics . Occasions . Authors
The script of 'Shogun' was so tight that you could not take a word out of a sentence, you could not take a sentence out of a scene, and you certainly couldn't take out a scene without putting ripples right through the back or the front of the overall story.
It's a complete lie, why do people buy these papers? It's not the truth I'm here to say. You know, don't judge a person, do not pass judgement, unless you have talked to them one on one. I don't care what the story is, do not judge them because it is a lie.
I think kids want the same thing from a book that adults want - a fast-paced story, characters worth caring about, humor, surprises, and mystery. A good book always keeps you asking questions, and makes you keep turning pages so you can find out the answers.
The Violence Against Women Act has been a true bipartisan success story since it was first enacted in 1994. In my home state of Texas alone, its programs have helped hundreds of thousands of victims to break free from the terrible cycle of domestic violence.
When you go into the theatre and the lights dim, you want to entertain people from beginning to end. You want them to be swept up in your story, on the edge of their seats, unable to wait to see what happens next, be blown away and afterwards just go, 'Wow!'
Sure I do a lot of jokes about Anne Frank. But when you do those jokes, it makes people remember what happened to her. That process of bringing her story back doesn't have to be a serious one. What I say is all nonsense, but it helps to keep her memory alive.
Eventually, while researching, you'll learn something you didn't want to know. Some fact that ruins a plotline you had in mind. The good news is that sometimes, learning all the facts can make for a much more interesting story than you originally had in mind.
Writers do well to carefully attend to those moments of inspiration, because chances are that they're writing from a very deep place. The subsequent search that ensues to continually attend to that voice that you hear is what is going to give the story drive.
Hold those things that tell your history and protect them. During slavery, who was able to read or write or keep anything? The ability to have somebody to tell your story to is so important. It says: 'I was here. I may be sold tomorrow. But you know I was here.'
No matter how wonderful the story, it has to move on something, and that is language. The words that I use, the pace, the rhythm and cadences all need to be there. If they're not there, the story is like a boat that just sits there and doesn't move on the ocean.
The apple which tempts my characters is the one that will remove the knowledge of good and evil. I suppose it's something of a reversal of the conventional Eden story: Freedom of thought is perhaps the greatest good, and needs to be fought for and sacrificed for.
I see my upbringing as a great success story. By disciplining me, my parents inculcated self-discipline. And by restricting my choices as a child, they gave me so many choices in my life as an adult. Because of what they did then, I get to do the work I love now.
Obviously 'Pete's Dragon' is more commercial than 'A Ghost Story,' but when making them, I'm just trying to tell a story that matters to me, that ultimately would satisfy me as a moviegoer. Because watching movies is my favorite thing to do. I watch a lot of them.
I always try to tell a good story, one with a compelling plot that will keep the pages turning. That is my first and primary goal. Sometimes I can tackle an issue-homelessness, tobacco litigation, insurance fraud, the death penalty-and wrap a good story around it.
I worked with Stanley Kubrick for almost a year back in 1990, trying to develop the screen story for his project 'Artificial Intelligence,' which is about a robot boy who wishes to become a real boy, a future scientific fairy tale inspired in the myth of Pinocchio.
You are carving out a story. You and your colleagues are trying to make something that is bigger than yourself. Although it can be a scary experience because you're putting your work out on the line, it's also incredibly rewarding because a lot of it comes from you.
I like documentaries because there's nothing to nitpick or criticize about scenes if they aren't just right. It's about honesty and real-life circumstances coming out. Granted it can be swayed by how people tell that story, but overall, I like it because it is true.
'Selma' is a story about voice - the voice of a great leader; the voice of a community that triumphs despite turmoil; and the voice of a nation striving to grow into a better society. I hope the film reminds us that all voices are valuable and worthy of being heard.
I think the most important thing is to be yourself and be genuine and don't try to tell anybody else's story but your own. And if it comes from a genuine place, I think people can tell, and if it doesn't, I think people can tell, and I think that eventually it shows.
The story of Christian reformation, revival, and renaissance underscores that the darkest hour is often just before the dawn, so we should always be people of hope and prayer, not gloom and defeatism. God the Holy Spirit can turn the situation around in five minutes.
When I read a good story, I often start thinking, 'Should I live my life according to what this character chooses and values?' It makes me think. I feel like I grew up to be a more mature person while thinking about character development in these fictional situations.
When I was a kid, I really loved watching 'Cinderella.' It's a fantasy, and every girl knows that real life isn't always like these movies, but as a child, I just really loved the story of 'Cinderella.' I found it to be so romantic and just a beautiful movie to watch.
The norm is white, apparently, in the view of people who see things in that way. For them, the only reason you would introduce a black character is to introduce this kind of abnormality. Usually, it's because you're telling a story about racism or at least about race.
Many politicians are in the habit of laying it down as a self-evident proposition that no people ought to be free till they are fit to use their freedom. The maxim is worthy of the fool in the old story who resolved not to go into the water till he had learned to swim.
When somebody says that six million people died in the Holocaust, there is nobody in the world who can understand that. It's only through story, reading books by Elie Wiesel or Primo Levi, that you really begin to understand the trauma and how horrible it actually was.
For the last 20 years of my life, I've had the mantra to do amazing parts with amazing people in amazing projects, so I'm attracted to good story, writing and character and good people. That's what I'm always searching for and I don't think that's ever going to change.
I walk away from writing what I consider to be a good song - with a good character, a good story in it - with all I'm gonna really get out of that song. My greatest pleasure is to create it, not to record it, not to hear anyone else play it, though that can be nice too.
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.
And if you're a golfer and you watch a golf film and Matt Damon swing, and it's not great, then you're not going to believe in the golf story, you're not going to believe in the rest of the film. That's the whole movie, so if that swing looks like crap, the movie's crap.
From the first time I read John Krakauer's book 'Into Thin Air' in the early 2000s, I always thought this great adventure story would make a really good film. It has all the ingredients - a great location, disaster, interesting characters, and all forms of human emotion.
I tell the story of eight forgotten founders, people like Canassatego, an Iroquois Indian Chief, who taught Benjamin Franklin about federalism, about the idea that you can form a confederacy in which the central power has only limited powers and local control is retained.
In 1957, 'West Side Story' had introduced the musical to the reckless dark side of teen-age life; 'Bye Bye Birdie,' set in Sweet Apple, Ohio, where the citizens apparently dress mostly in chartreuse, mauve, orange, periwinkle, and turquoise, was a walk on the bright side.
Because God gave you your makeup and superintended every moment of your past, including all the hardship, pain, and struggles, He wants to use your words in a unique manner. No one else can speak through your vocal cords, and, equally important, no one else has your story.
Does the prospect of seeing the Great Commission of Christ fulfilled drive you day and night? If not, then I pray that the story of my life will light a fire in you. A fire that will change everything. A holy fire that will convince you that nothing is impossible with God.
Empathy is the most mysterious transaction that the human soul can have, and it's accessible to all of us, but we have to give ourselves the opportunity to identify, to plunge ourselves in a story where we see the world from the bottom up or through another's eyes or heart.
I like working with south Indian directors because they are very disciplined. They visualize their entire story and screenplay in their heads even before they start shooting, which I respect. They finish their work on time. Being a disciplinarian myself, this suits my style.
There are things I've done in the past I'm not proud of - and I could talk about them if I wanted to - but I don't reveal my secrets... I prefer certain things to remain personal; there have to be boundaries. And I don't think you need a scandal to have an interesting story.
I'm just trying to write a good story, strictly from imagination. People just think it's random, they don't see the rewriting, phrasing of characters, choosing the words, bringing the world to light in which the characters live in. That creates an illusion that this is real.
You know you're getting older when - well, first off, when you read almost any story that begins 'You know you're getting older when.' But you also know it when you not only never heard of the musical guest on a given 'Saturday Night Live' but never heard of the host, either.
I like ambiguity because you may be the villain in someone else's story and the hero in your own, and I think very often, African-American characters are either one thing or the other. You shouldn't have to be perfectly good or perfectly bad. You don't even have to be magical.
In our story logic which we're making up, if we're saying he's alive, then like a quadriplegic who's in bed he can move his head and shoulders, but he can't move his arms. If he could just turn on that power to his legs and arms, the nerves could get through and he could walk.
Wherever my story takes me, however dark and difficult the theme, there is always some hope and redemption, not because readers like happy endings, but because I am an optimist at heart. I know the sun will rise in the morning, that there is a light at the end of every tunnel.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
I made 'Prozac Nation' necessary reading because I write necessarily. I tell my story because it is about everyone else: in 1993, people took pills to relieve the pain just like they do now, but it scared them; it doesn't any more, because talk is not cheap at all - it is tender.
Lewis Carroll, you see, wasn't really interested in telling an exciting story. Well, he wasn't interested in things like cause and effect or a linear narrative. It's surreal, it's absurd, it's wordplay, it's satirical, it's analyzing itself, it's funny, it's an enormous challenge.
I believe your home tells a story about who you are and who you aspire to be. We represent ourselves through the things we own. I don't believe in trends. I believe in collecting things that you connect with. We should surround ourselves with things we care about, that have meaning.
I was in Las Vegas when the Nogueira brothers first touched down in America. There was a bus - this is a true story. There was a bus that pulled up to a red light, and Little Nog tried to feed it a carrot while Big Nog was petting it. He thought it was a horse. This really happened.
If half-black Barack Obama had decided years ago to call himself white - which his genes certainly entitled him to do - his story would have carried very different meaning. If millions of part-black people had followed him into whiteness, then the N.A.A.C.P. would be in true crisis.
The Olympics is not really about the sport, it's about the story behind the person. You keep the sport relatively simple to understand - let the fans understand that a takedown is 1 point, a turn is 2, a pin and the match is over. Keep it simple, and keep the story on the individual.
My work is all about how we consume. To me it's important to know where things come from. Generally, our products today are so cheap, you know there's something wrong. Things are not made in a good way. I want to make things that are. I want to make the story behind products visible.