Quotes of All Topics . Occasions . Authors
Everyone's the hero in their own story. You've lived your life. You're the good guy of your life, the protagonist of your own movie. Everyone knows that they have more in them to offer than they sometimes show.
That Will Never Work' is the untold story of Netflix. It's how a handful of people, with no experience in the video business, went from mailing a used Patsy Cline CD and ended up with a publicly traded company.
In the '365 Fresh' MV, the story ends with us falling to the ground. Meanwhile, the 'Retro Future' MV features us falling onto a car in the beginning. The car that appears in both music videos is the same kind.
Rush Limbaugh, we expect nonsense from him. But the Vatican, that's another story. When the Vatican is so threatened that it launches attacks on nuns, well, you know what they say in politics, a hit dog hollers.
I am confident that, in the end, common sense and justice will prevail. I'm an optimist, brought up on the belief that if you wait to the end of the story, you get to see the good people live happily ever after.
Looking out at the ocean, it's easy to feel small - and to imagine all your troubles, suddenly insignificant, slipping away. Earth's seven oceans seem vast and impenetrable, but a closer look tells another story.
I don't have answers for anybody else. What I know is that internal complexity makes for superficiality. There's never essentially a pure story unless there's a pure product line that has its own shining clarity.
Our people historically have gone through a lot. That is our story. You can trace it all the way back to slavery. But it is incumbent upon everyone, no matter what field, to make it easier on the next generation.
I don't start a film with the heroine but with the cinema subject. If there is a woman in the story, she has to be of a particular type. It's not as if I start with Madhuri Dixit and then think what kind of film.
There's no story if there isn't some conflict. The memorable things are usually not how pulled together everybody is. I think everybody feels lonely and trapped sometimes. I would think it's more or less the norm.
Coalwood, West Virginia, is the little coal-mining town where I grew up, and it was there that five other teenage boys and I famously built and launched rockets. I recounted this story in my memoir, 'Rocket Boys.'
I was interviewing an elder, Chief Fool's Crow, who was the ceremonial chief. He was 103 years old. I was getting his information on the history of Lakota horses. He told me the story of Hidalgo and Frank Hopkins.
All the scars on my body, all the bumps and bruises, all the muscles - that is a story of everything I have done. And it's not just my story. My ancestors who came before me gave me this vessel to sculpt and mold.
The truth is that there is only one terminal dignity - love. And the story of a love is not important - what is important is that one is capable of love. It is perhaps the only glimpse we are permitted of eternity.
To me, art and storytelling serve primal, spiritual functions in my daily life. Whether I'm telling a bedtime story to my kids or trying to mount a movie or write a short story or a novel, I take it very seriously.
I sent The World Well Lost to one editor who rejected it on sight, and then wrote a letter to every other editor in the field warning them against the story, and urging them to reject it on sight without reading it.
In the Seventies, a lot of executions via electric chair failed because of technical problems. Seed tells the true story of someone who survived and sought revenge. They buried him alive to make it seem he was dead.
I started in documentaries, and that was a great help to me with improvisation, because with documentaries, you're handed a big lump of footage, and you have to shape it and make it into a story - which I love doing.
I was at Elon University in North Carolina for two years pursuing my BFA. And after my sophomore year, I was cast in the Broadway Tour of 'West Side Story.' I just kind of - it always was my favorite show growing up.
You can be technically strong, and focus all your efforts on elements like casting, music, cinematography and sets, but they are all just add ons. End of the day, filmmaking is really about how well you tell a story.
I was 17 the first time I set foot in a classroom, but 10 years later, I would graduate from Cambridge with a Ph.D. 'Educated' is the story of how I came by my education. It is also the story of how I lost my family.
There is the story in every man's heart of human progress. I believe every one of us knows that his major job on Earth is to make some contributions, no matter how small, to this inexorable movement of human progress.
The first story I ever sold was to 'Argosy' magazine, which no longer exists. That issue also contained work by several other more celebrated writers, like Ray Bradbury - so I felt I had at least one toe on the ladder.
Most people never really sat down and got to know a homeless person, but every homeless person is just a real person that was created by God and it is the same kind of different as us; they just have a different story.
If you can have a great story that people can follow the mystery and get the suspense, and then you have those moments of tension and a splash of visual fun, then you kind of get everything. You get your money's worth.
With 'Horror Story', it really was, 'You're going to run; you're going to jump off this cliff, and trust that that Ryan Murphy is going to catch you.' So I just ran head-on into it and jumped off the edge of that cliff.
I would love to see more women directors because they represent half of the population - and gave birth to the whole world. Without them writing and being directors, the rest of us are not going to know the whole story.
I like the story about Henry David Thoreau, who, when he was on his death bed, his family sent for a minister. The minister said, 'Henry, have you made your peace with God?' Thoreau said, 'I didn't know we'd quarreled.'
The narrative constructs the identity of the character, what can be called his or her narrative identity, in constructing that of the story told. It is the identity of the story that makes the identity of the character.
'La Lupe' is my passion project. I've done it as a one-woman show, but I'm raising money to turn it into a film. It's a story of a Cuban singer who became the Queen of Latin Soul, the first woman on the N.Y. salsa scene.
I learned about this talent show on TV that was basically the Estonian version of 'American Idol.' So I lied about my age, went on the show, and won. I think my story is about working really hard and dreaming really big.
I have never sold my story, done 'Hello!' magazine, any of that stuff. I'm not guilty of exploiting my private life for cash and then saying, 'Oh, I don't want to talk about my private life.' I've never crossed that line.
My whole life, people have doubted me. My mom did. People told me in high school I'm too short and not fast enough to play basketball. They didn't know my story. Because if they did, they'd know that anything is possible.
I have a worm's eye view and a bird's eye view simultaneously and it's immensely helpful to understand what is happening on the shop floor when you are harnessing many talents and telling an intimate story on a large scale.
A Shakespearean tragedy as so far considered may be called a story of exceptional calamity leading to the death of a man in high estate. But it is clearly much more than this, and we have now to regard it from another side.
'Parava,' in my head, was always a film about children. And I was like, 'If I can be part of the film and help promote it in some way or the other, I'd be very happy.' I also did 'Ann Maria' because it was a story about kids.
When I was 23, I went to Alaska by myself into the glaciers of the coast range and climbed a mountain by myself. It was incredibly reckless, incredibly stupid. But I was lucky. And I survived, and I came back to tell my story.
I suppose that I was a kind of consultant for taste. Is it good taste? Or bad taste? I had an attention to detail, to what would tell best the story. Because many people get excited about the work and drift off from the story.
The decision to kiss for the first time is the most crucial in any love story. It changes the relationship of two people much more strongly than even the final surrender; because this kiss already has within it that surrender.
I'm a fan first and foremost. I get caught up in the drama, the emotion of what is happening, whether it's a boxing match, an MMA fight, a kickboxing contest, or a WWE matchup. I want to tell the story and paint more pictures.
I dread naming pieces of music because being instrumental, most of the time the songs that I write are instrumental, I want the listener to make up their own story as to what it is and get the emotion pure without using logic.
Everyone loves a comeback story, and everyone loves the underdog as well. I kind of feel like I've been the underdog. Hopefully that inspires people to not give up on themselves and their lives and not give up on their dreams.
Pixar's short films convinced Disney that if the company could produce memorable characters within five minutes, then the confidence was there in creating a feature film with those abilities in story and character development.
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.
Based on my own experience, when you're going through adolescence you don't know how the world works. You can't set a story in the world you live in because you don't know what a utility bill is, or how to budget your paycheck.
Money is the probably the most successful story ever told. It has no objective value... but then you have these master storytellers: the big bankers, the finance ministers... and they come, and they tell a very convincing story.
There's what we call the 'critical path,' which is the main story line and all the missions that you have to do to complete the narrative arc of the game. Then there are side quests. They're not essential to completing the game.
What's hardest for me to swallow is when there is a love story, say, with a really high-profile male star and there's no reason I can't play the part. They say, 'Oh, we love Halle, we just don't want to go black with this part.'
'Big Sky Mountain' is the story of Hutch Carmody and Kendra Shepherd, lovers with a history, and a lot of hurt pride. The book is about finding their way back to each other, growing as people, and inventing a life they can share.
I think I got spoiled and that writing a short story and getting it published, or writing a novel and getting it published, you pretty much get to do the first, second and third draft yourself without a whole lot of interference.