A Quote by Jeremiah Brent

The spaces we live in should tell our story. — © Jeremiah Brent
The spaces we live in should tell our story.
I think you tell the story that has to be told. You tell the story that's the truth. You tell the story that readers will be interested in and should know about.
All we have is the story we tell. Everything we do, every decision we make, our strength, weakness, motivation, history, and character-what we believe-none of it is real; it's all part of the story we tell. But here's the thing: it's our goddamned story!
This world is not one color or culture. Everybody has a story. To tell that story or see that story reflected through art is extremely valuable to the community. The arts belong to everyone and our work should reflect that diversity.
Life is a story. Why do we die? Because we live. Why do we live? Because our Maker opened His mouth and began to tell a story.
When we believe in our thoughts, when we tell ourselves a story, we suffer. 'My husband doesn't respect me.' 'I should be thinner.' Those are stories. When there's no story, there's no suffering.
My dad has a great expression. He always says, 'Tell me a fact and I'll learn, tell me the truth and I believe, but tell me a story, and it will live in my heart forever.' Interestingly enough now, my dad's story is going to be in Canton and hopefully that will live forever, too.
I have got my story. Adoptees rarely get our stories. We only know what we are told. I don't even have my story, really. My mother won't tell me. She won't tell me who my father is. She won't tell me the story of my birth.
I think acting, oftentimes it's not about lines, it's about spaces in between lines and expressions on people's faces and their relationships. You can tell your own story, or a story that you're interested in, even if the lines don't necessarily point you in that direction.
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
That sort of detailed filmmaking is one, hard to do and not have it be pretentious, and two, have it tell the story, which is what you're taught, that cinema is the language of images and you really should be able to make a film with no dialogue and tell a story.
We are living now. We shall not live long. No one should tell us we shall live again. This is our little while. This is our chance.
It seemed to me at an early age that all human communication - whether it's TV, movies, or books - begins with somebody wanting to tell a story. That need to tell, to plug into a universal socket, is probably one of our grandest desires. And the need to hear stories, to live lives other than our own for even the briefest moment, is the key to the magic that was born in our bones.
Myths are stories for our search through the ages for truth, for meaning, for significance. We all need to tell our story and to understand our story. We all need to understand death and to cope with death, and we all need help in our passages from birth to live and then to death. We need for life to signify, to touch the eternal, to understand the mysterious, to find out who we are.
For we live with those retrievals from childhood that coalesce and echo throughout our lives, the way shattered pieces of glass in a kaleidoscope reappear in new forms and are songlike in their refrains and rhymes, making up a single monologue. We live permanently in the recurrence of our own stories, whatever story we tell.
I think, as writers, our first responsibility is to writing an honest story. Tell the story you want to tell, without pulling your punches.
Tell me a story. In this century, and moment, of mania, Tell me a story. Make it a story of great distances, and starlight. The name of the story will be Time, But you must not pronounce its name. Tell me a story of deep delight.
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