A Quote by Aisha Tyler

If you have a secret, and it's embarrassing to you, when you tell that story - you own it. It becomes yours, and no one can use it against you. — © Aisha Tyler
If you have a secret, and it's embarrassing to you, when you tell that story - you own it. It becomes yours, and no one can use it against you.
I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.
I like to tell stories in my writing but I definitely use my own life experiences to tell that story.
Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.
I'll tell you a secret. Old storytellers never die. They disappear into their own story.
The demons of the Devil don't use your weak weaknesses against you, they use your strong ones. If you're rational and logical, they argue their case rationally and logically. If you're loyal and faithful, they turn those against you. If you're passionate and emotional, they make you passionate and emotional about your worse fears. Your weak weaknesses are no use to them.... They find the strongest weaknesses you didn't know were yours and use those against you.
If you have an embarrassing story, and it's a source of shame, keeping it in just compounds the shame and turns the story into something poisonous. And if someone knows about it, then it can be used against you.
So often with beginning writers, the story that they want to start with is the most important story of their life - my molestation, my this, my horrible drug addiction - they want to tell that most important story, and they don't have the skills to tell it yet, so it ends up becoming a comedy. A powerful story told poorly becomes funny, it just makes people laugh behind their hands.
A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.
Secrets affect you more than you’d think. You lie to keep them hidden. You steer talk away from them. You worry someone’ll discover yours and tell the world. You think you are in charge of the secret, but isn’t it the secret who’s actually using you?
The autobiographer looks at life through the lens of his or her own life and really uses herself or himself as the jumping-off place to examine the social mores and the economic and political climates. In a way, the autobiography becomes history as well as the story of one person, for it becomes the story of a family or the story of the state or nation.
I don't know if I was always an open person, but I think stand-up comics specifically have this way of running towards embarrassing things - whereas regular people tend to run away - because the embarrassing story is always going to be the really funny story.
Since everybody is an individual, nobody can be you. You are unique. No one can tell you how to use your time. It is yours. Your life is your own. You mold it. You make it.
In those sticky summer nights in South London our windows stay open and our tiny apartment becomes our secret garden. The magic of the secret garden is that it exists in our imagination. There are no limits, no borderlines. The secret garden leads to the marigolds of Mogadishu and the magnolias of Kingston and when the heat turns us sticky and sweet and unwilling to be claimed by defeat we own the night. We own our bodies. We own our lives.
Remember that your imagination is yours and yours alone. You have the inborn capacity to use it in any way that you choose. No one else is responsible for your imagination. Anything placed in your imagination and held there ultimately becomes your reality.
One of the remarkable qualities of the story is that it creates space. We can dwell in a story, walk around, find our own place. The story confronts but does not oppress; the story inspires but does not manipulate. The story invites us to an encounter, a dialogue, a mutual sharing. As long as we have stories to tell to each other there is hope. As long as we can remind each other of the lives of men and women in whom the love of God becomes manifest, there is reason to move forward to new land in which new stories are hidden.
If there’s no one else to tell another side - the only story that can be told is the story that becomes true. (p. 173)
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