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On Wall Street, every story becomes known so quickly. They are all so connected that everything disseminates there faster than anywhere.
Curiously enough, I was one of the first to have some say in Hollywood. By sheer accident, I had four successes in a row in the early 30's and, although I was still in my 20's, I demanded and received approval of cast, story and director. I don't know how I got away with it, but I did!
The difference between graphic novels and web comics is even greater than graphic novels and story boarding. Web comics really is a legitimately separate genre.
There certainly does seem a possibility that the detective story will come to an end, simply because the public will have learnt all the tricks.
If you don't have a story that will hold the audience, you won't have a successful show.
I mean I certainly tell the Maria Goeppert-Mayer story and I’m happy that life isn’t like that. I’m glad there were trailblazers like her and Marie Curie.
A story begins and it always passes from the subjunctive to the declarative. And Italians don't seem to care about making a fine distinction between that which is speculation and that which is fact.
If the story wasn't overly long, I'd type it out. And I'd carry it around with me for a week and jot notes on it, and then I'd throw it away and do another one.
I would try to write my own story about some East Coast suburbanite having an affair or something like that. So I did that for maybe two years or so, and it just wasn't working for me at all.
In anything you write - in a short story, a poem - there has to be a counter-motion; it can't go all in one direction.
History had its own way of explaining things. The way historians explain things is by telling a story.
I think, in the grand epic, Jesus is the hero of our stories. And our stories, as they were, are subplots in a grand epic and our job is not to be the hero of any story. Our job is to be a saint in a story that he is telling.
For my type of story and my kind of writing, I think 'Vanity Fair' is the right forum.
The most fun part for an actor is the writing and the story and the character. That's very fulfilling.
I grew up in a family where my father was in a rock band, and I saw and heard every story.
My story is comic because I've spent vast amounts of effort trying to become a Hollywood screenwriter and made no direct effort on making my son a movie actor.
No actor can refuse a combination of a good story, a Balaji production, and the show being aired on Star Plus.
Whether it's an FBI agent or a maid, if they want me to wear a pink tutu, I might have a few questions, but I'll wear it for the sake of the story.
I would love to go off and do a movie with Judd Apatow or do another 'Mean Girls,' but to me, it's whatever the story is.
Advertising is the art of the tiny. You have to tell a complete a story and deliver a complete message in a very encapsulated form. It disciplines you to cut away extraneous information.
All of journalism is a shrinking art. So much of it is hype. The O.J. Simpson story is a landmark in the decline of journalism.
It's funny: I look at songs, and I guess they each tell a story, and the different songs talk about different things. But they're unified by the rhythm underneath and the way that we decided to arrange and play them.
Before he went to sleep, I told him a little story about a rabbit we saw run around the beach house we rented.
I wanted to be a literary writer, so I wrote story after story and sent them to 'The New Yorker.'
It's a privilege to be in this position, to have people want to talk to me, to have people want to hear my story and hear what's going on, because it can easily be on the flip side, and no one wants to talk to me, no one respects me one-on-one, no one in the stands wearing my jersey. It's a blessing.
I don't see how 'Hunchback' could ever appeal to children. It's a very adult story that deals with repressed sexuality.
When I was a kid going to the movies, we'd go because Bogart was in the movie, or Cagney, or John Wayne. We didn't know what the story was about or anything.
Why tell a story that people have seen 900 times? That's not interesting artistically.
Muhammad is more human, more self-doubting, even self-tortured at times. His story is full of adventure, intrigue, betrayal.
Yes, in all my research, the greatest leaders looked inward and were able to tell a good story with authenticity and passion.
No other aspect of filmmaking has tempted me to do a film other than the script and the story itself.
I always struggle with making the technical aspects of the plot fit with the story that's unfolding in my imagination.
I want young readers to know that to tell their own story is the most important thing they'll ever do.
I always say that I take my life and turn it into story, and I certainly did that with 'Countdown'.
So often, we don't realize that the very moments in which we live become our history, our story.
I get very caught up in the day-to-day and immersed in the scenes as they unfold. It's harder for me, as I'm filming, to see the larger story.
The first story I wrote was called 'Days,' and I have very little affection for it.
Visual storytelling combines the narrative text of a story with creative elements to augment and enhance the traditional storytelling process. By design, it is a co-creative process resulting in an intimate, interpretive, expressive technique.
Adventure books are my personal favorites. 'The Endurance,' a story about Ernest Shackleton's legendary Antarctica expedition, or 'Into Thin Air,' Jon Krakauer's personal account of the 1996 disaster on Mt Everest, are two notables.
The story of Google is just when everyone concluded that a search engine would never make any money, everyone backed out of it, and Google walked into that vacuum and dominated.
Most magazines have become wallpaper, they're all the same, all the same celebrities. It's really an abysmal time in American journalism right now. But occasionally one story or two will pop out.
What attracted me to 'Eclipse' was that it is a great story and a tremendous challenge for me as a filmmaker.
I've commissioned an adaptation of 'The Jungle', by Upton Sinclair, a story of a young immigrant from Lithuania to the meat-packing industry of Chicago in 1904, and the rise of the unions in America.
The United States came within a whisker of invading Utah in 1858 and starting a civil war three years before the Civil War. Because the conflict ended up fizzling out, it's not the most dramatic story about the West.
Football is not always as glamourous as some might imagine, as the story of the first time I signed Marouane Fellaini perhaps illustrates.
It's really hard to be a story writer - no matter how much acclaim you get - and not write a novel.
The more songs I've written, the more I've grown interested in telling a story. When I first began, I had this list of opaque phrases where you can make of it what you want.
When I'm writing a story, I try to reduce it to the barest possible components and go from there.
To me, a story can be both concrete and abstract, or a concrete story can hold abstractions. And abstractions are things that really can't be said so well with words.
Choreographing a fight scene is telling a little story. You learn a lot about the characters involved.
Shooting a fight is like shooting any other scene. You have to tell a story using a very specific choreography.
I don't want to steal anybody's story. I very much want to use the stories that I hear to get lost in my mind, to tell a larger story.
But the most important thing about that story, which is not often told, is that as a result after the Cuban missile crisis, immediate steps were taken to correct our inability to collect on the movement of nuclear material out of the Soviet Union to other places.
I did not intend for there to be an incisive historical lesson in 'North and South.' Basically, it's just a good, juicy story.
'Roots' did show that the audience would be receptive to black talent and a black story.
I prefer to speak of 'interdimensionals' rather than 'extraterrestrials' because the latter has connotations of 'little green men' and all the other cliche responses. Nor does it tell the full story.
I began writing fiction because it was the only way to tell all the intricacies of a real-life spy story.
I've tried, in 'Bloodmoney,' to tell a story that gets at the crazy relationship between the ISI and the CIA, these absolutely fascinating, often mutually destructive two scorpions in a bottle kind of relationship that they have.
American politics, like most things, is a story of what statisticians describe as the reversion to the mean.
My mum, Olwen, was a bright and talkative woman who loved a gossip and a story and was given slightly to malapropisms. And she was Welsh, so, of course, she sang.
In 'The High Low', in some respects an audio version of 'Grazia,' Pandora Sykes and Dolly Alderton wonder whether they missed something in their survey of the Harvey Weinstein story. Maybe they did, they decide.
'Constitutional' is an unashamedly educational podcast from the 'Washington Post.' Sub-titled 'a podcast about the story of America,' it's presented by Lillian Cunningham, who engages scholars to explain the fascinating story of how a nation is designed from scratch.
'Intrigue: Murder In The Lucky Holiday Hotel' is a podcast put together by the BBC's Carrie Gracie that investigates the story behind the death of British businessman Neil Heywood in the Chinese city of Chongqing in 2011.
Maybe I will write a memoir, perhaps I'll do some essays, or maybe I will write a mystery story.
The story of our species is one of overcoming existential risk through new forms of cooperation and innovation.
Those Duffer Brothers really know how to tell a story, and I think it makes you want to watch. 'Stranger Things' is remarkably watchable.
We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life 'outside' the story changes the story.
Over the years, advertising had become very lazy, very visual. Visuals are important, yes, but as a part of the story.
When I really have to push and grope and scratch and claw to make a story work, that's a telltale sign that maybe something conceptually isn't right.
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.
We, as extremely complex creatures, desperately need to know this story of how the universe creates complexity and why complexity means vulnerability and fragility.
In a movie, you're just passive; you're just watching a story that is told to you. But in games, I saw that you could be the main protagonist: you could be in the shoes of the hero and make the decisions.
The concept of 'Heavy Rain' is to offer real-life situations with real characters. There are no supernatural elements in the story.
There are many different ways of telling an interactive story, I think. I don't think there's a right one and a wrong one. There are different games telling different types of stories in different ways.
I like to be surprised. Fresh implications and plot twists erupt as a story unfolds. Characters develop backgrounds, adding depth and feeling. Writing feels like exploring.
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