Story Quotes
Most Famous Story Quotes of All Time!
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I wanted to tell my story in a way I haven't done before, things I've been going through in my life.
I usually make sure that my stories are from Africa or my own background so as to highlight the cultural background at the same time as telling the story.
Basically it's the core story. About a guy having an affair with the mother of the girl he falls in love with.
I don't like two stories. I like one story. I never grew up with stairs. I like to stick to what I know.
There's always a slight tension when you sell a book to Hollywood, especially a nonfiction book. The author wants his story told intact; the nonfiction author wants it told accurately.
The biblical story is in dialogue with the other stories of its time. And if the Bible can be in dialogue with other cultures, why can't the people who are descendants of the Bible be in dialogue with other cultures?
My name is Bruce Feiler, and I'm an explainaholic. I first heard this word used to describe Isaac Asimov, and I knew instantly that I suffered from the same condition. It's the incurable desire to tell, shape, share, occasionally exaggerate, often elongate, and inevitably bungle a good story.
There's a reason the Exodus story has inspired so many Americans. It's a narrative of hope.
In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.
I'm trying to tell a story, to entertain. I try and do something that might just take people's minds off their troubles.
The history of Buenos Aires is written in its telephone directory. Pompey Romanov, Emilio Rommel, Crespina D. Z. de Rose, Ladislao Radziwil, and Elizabeta Marta Callman de Rothschild - five names taken at random from among the R's - told a story of exile, desolation, disillusion, and anxiety behind lace curtains.
When I'm covering a story, it's not just about gathering facts, but it's gathering the human element as well.
What's the fundamental problem that VR solves better than anything? To me it's straightforward. It's story. VR tells stories better than any medium.
2014 was a really big year for me because I was able to go into a storyline with Stephanie McMahon, and the WWE Divas championship wasn't part of that, but for me, it was the biggest story I've ever been a part of in my whole entire career.
The same myths are told in every culture, and they might swap out details, but it's still the same story. It's the same story, but with a different face.
Once I'm given an idea for a story I have a million ideas on how it should be illustrated, but I don't have a big shoebox full of unfinished ideas.
I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.
In late 2001, I contributed a short story called 'Castaways' to an anthology called 'In Laymon's Terms,' which was a tribute to Richard Laymon, who had passed away earlier that year.
'Castaways' was a play on what if a reality show like 'Survivor' was unknowingly set on an island inhabited by a sub-human race of creatures? Readers have often asked me to consider turning the short story into a full-length novel. So I did.
When I set out to research the story of the Culper Spy Ring, I had no idea where it would take me.
I guess what's most surprised me in most of the reviews is that they don't seem to get the noir story in the dream sequence, so they analyze it like a straight noir movie.
I've had various experiences where I've been called by Hollywood studios to look at a script or comment on various scientific ideas that they're trying to inject into a story.
There really is only one story that you need to tell as a scientist or a technologist. It's Prometheus stealing fire. That's it. That's what we do as scientists or technologists.
I have to challenge myself, and I have to challenge the reader. We should be weaving and working on new stories and not the same story over and over.
Behind bars, everyone's an inmate. Everybody has their skeletons; everybody has their story.
There's just so much I want to do in life. Part of that is to use my story and use my experiences to give back to other people.
I'm an actor, and I want to play flawed characters, and I'm a writer that wants to write flawed characters, trying to let something out and hoping people relate through that or have fun experiencing the story.
I'm not tied to budgets. I'm tied to the story that I want to tell, and how much it's going to cost is up to whatever the economic situation of the studio is.
I hardly ever think about audience. I just try to tell a story for me. I write the kind of story I would like to read.
Exploitation is a harsh word, I know that, but on a certain level, to me that is the central Hollywood story.
There's got to be something you want to tell and that's the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you're telling to be a filmmaker.
We're telling a story. And the demands of that are different from the demands of a documentary. The audience must believe in order to keep faith in the story.
It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.
We only get better by telling our real story. That's the only way to be.
I'm drawn to a story partly based on the fact that it's something I might not be as familiar with.
That's not the part of the story that I'm interested in, anyway. The part that I'm interested in is all the personal stuff. I tried to base the powers on family archetypes.
When we raised the first Foundry Group fund in 2007, we took over 100 first meetings. We told our story several hundred times. As part of it was a slide called 'Strategy.' I still repeat the elements of that slide regularly, a decade later, as our core strategy has not changed.
The thing about Pixar, they don't do the 'trend is your friend.' They're really about timeless story telling, and that's pretty great.
A mathematical proof is beautiful, but when you're finished, it's really only about one thing. A story can be about many things.
If you tell a story that's only allegory, then it doesn't help you at all. If it doesn't bring some emotional charge, then it's just talking about something.
The moment you say, 'I want to do a role,' the story suffers. I don't set priorities in terms of roles or scripts.
Every love story or Hindi film has the same story, but what makes it different is the treatment it's given. Much depends on how it is stylised, how the characters are moulded, and how the story is treated.
The Washington Times wrote a story questioning the authenticity of some of the suggestions made about me in Silent Coup. But as a believer in the First Amendment, I believe they have more than a right to air their views.
Many people have their reputations as reporters and analysts because they are on television, batting around conventional wisdom. A lot of these people have never reported a story.
In the early Seventies, I started writing a little autobiographical novel about my childhood - I made it into a mystery story.
'In Country' was also made into a film, which opened the story up to a broader audience.
Millennials want brands with a story, something they can relate to. They want a personal brand they can put a face to.
Obviously, if the commander makes certain decisions that the reporter thinks is inhibiting his right to report a legitimate story, he has to appeal to the commander's boss to get that changed.
If China were to explode, I'd want to be there in a flash. If there's a big story, I want to be there.
I was involved with the Batman. There are two sides to every story. Now you've heard my side.
How can an article about me or the Batman be the true story when I am not consulted or interviewed?
Also there is a twist to the story as I'm being haunted and driven crazy, attacked and so on. All I seem to do is run and scream and cry in every scene.
I won't go into detail but this animated one, the story line is very cool and the kids seem to love it.
My drawing skills probably froze around when I was 18... Now I'm more interested in the story, how the drawings, the layout can help express the stories and communicate them.
I was fascinated by a compelling character embroiled in a controversial topic that told the story from a different point of view.
The story of Jesus is very fascinating. It still has such a tremendous power, even after 2,000 years! We don't really know if he existed as a historical figure.
My mum is a theatrical person. I saw a tape of a theatre project she did when I was a kid. I was really affected by the idea that my mum could turn herself into someone else for the purpose of telling a story.
You're telling the story, creating the sets, doing the lighting, the designing, and establishing the pace.
So, when the special effects are at the service of the story and draw you into it, that is really the magic.
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.
One of the things that I have learned since trying to bring in an interesting story in under 28 pages is that we already agree on great chunks of typical superhero stories.
I'm not famous for my back story investigations; I'm lucky that I work with good writers and it's usually in the script.
Competition between men is a fuel that's useful to us. We have to be careful that it doesn't tell the same story over too many times, but it's amazing how durable that story is.
In a crime story, the details become tremendously important - where the staircase was in relation to the bed, for example.
I would make a genuinely terrible guide. I can't remember things. I would get half way through telling a story or explaining something and I would get distracted. Oh, and I have absolutely no sense of direction at all.
From its inception by Michael Bennett, 'Dreamgirls' has always been an epic story with an ensemble cast. I didn't change that. The screen version remains, really, a group story.
I remember seeing 'The Babadook' and I thought that was such a wonderfully dramatic story but told with these horrifying elements, and that's incredible. It did give me nightmares but I was glad that I watched it.
If I can tell someone a story that makes them bend over and laugh, that's bigger than anything else.
The radios are going to dictate. That's another fight. That's another story there. I wish they just let it be.
And that's why any of my picture books exist: They all seem to be built backwards from a simple, emotionally optimistic story beat.
I know what it's like to be genuinely intrigued and compelled by a story and to have a sense that there's an adventure to be had and a film to be conjured.
I'm interested in telling stories that add up to more than the entertainment of the story. That's what does it for me.
The first profile piece on myself came about after my Rabbi sent information to the Jewish Chronicle on what I was up to. The story was then picked up by one of the nationals and things grew from there.
The fact of storytelling hints at a fundamental human unease, hints at human imperfection. Where there is perfection there is no story to tell.
If you are working in an office, where do you find the time to write a novel? But you can finish a short story in five pages. Furthermore, a short story is a perfect place to learn the craft.
It is possible to take the story of Noah figuratively, although virtually every Near East ancient civilization has its own version of the flood story (including the amoral epic of Gilgamesh).
A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement.
I emphasize to C.E.O.s, you have to have a story in the minds of the employees. It's hard to memorize objectives, but it's easy to remember a story.
The really tough thing would have been to decide to take Woodward and Bernstein off the story. They were carrying the coal for us - in that their stories were right.
They cut about seven minutes from that broadcast, but it was still vital to the story's momentum.
'Farscape' is a story about family. It's a story about creating life in a harsh environment. That's what a lot of people relate to in the story.
The devadasis have a multilayered story, a story in which poverty, deprivation and injustice against women is central - but what has happened to them is absolutely an outcome of imperialism and the impact of British rule in India.
In terms of the mechanics of story, myth is an intriguing one because we didn't make myth up; myth is an imprinture of the human condition.
My favorite roles usually have to do with the story, if it's a good story I usually enjoy doing the character.
My favorite Oscar story was a year my brother had been nominated, my whole family went.
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.
When I think of a story, somehow it just always seems to come out involving spooks and spies and government skullduggery.
The job of the screenplay is to identify and extract the essence of the story from the novel and reconfigure it for the screen, maintaining its essence in a different vehicle.
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