A Quote by Joshua Bell

When you play a violin piece, you are a storyteller, and you're telling a story. — © Joshua Bell
When you play a violin piece, you are a storyteller, and you're telling a story.
It's very dangerous for a storyteller to walk into a situation with a political agenda because you end up telling a story about issues instead of telling a story about people.
I see myself as an explorer more than a storyteller. A great storyteller, in control of her craft, must be the same person when she finishes telling a story as she was at the start. But I want to be transformed by my filmmaking, by the journey I take.
Well I'm not a storyteller, as far as telling stories which relate to experiences in my own life. That's not what I do. I write songs which have a narrative and attempt to make sense and tell a story - sure! But whenever I hear the word "storyteller" I think of a children's musician.
Creating is one thing; telling the story is one thing. I see myself more as a storyteller than a story creator.
In documentary films, you're a storyteller using found objects. You still have to have a story arc and all the elements that make a good story. It really helped me mature as a storyteller.
When you're a storyteller, part of the process of storytelling is the kind of communion you form with the audience to whom you're telling your story. If some segment of the audience doesn't like that story, it doesn't feel good.
I'm a storyteller. I'm always willing to serve the story, a story I believe in, in whatever way is necessary. If I need to write the story I believe in, I will write it. If I've been offered to act in a story that I truly believe in, I will happily do that, but I'm a storyteller. That's something I'm so thankful for.
Telling your story is transformative. For both the storyteller and their audience, a new bridge to understanding is created.
I just woke up one day when I was six and I wanted to play the violin. Then, six years later, I didn't want to play the violin, but I wanted to sing and play the guitar.
You get to crack the code of the play. You get to really pick at it and see, 'What is the story that we're telling?' 'What are the clues in the text that I can find that will help inform what story we're telling?' It's almost like a detective mystery.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
What's your story? It's all in the telling. Stories are compasses and architecture; we navigate by them, and to be without a story is to be lost in the vastness of world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story. Which means that a place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there.
The moral of the story is not to listen to those who tell you not to play the violin but stick to the tambourine.
The only downside to playing the violin is that you never know when you're going to be asked to play. I could be out to dinner or having a drink at a bar, and someone could just give me a violin, and I've got to be ready to play.
Well, my main instrument is violin, but I think of myself as a songwriter who happens to play violin.
I come from a very musical family. My dad taught me to play guitar. I play violin and drums as well. Violin, I started in elementary school. Drums actually came when I was in a program called 'Rock Star,' which was really awesome. We were doing a song by the Ramones, so I thought, 'Why not play the drums?'
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