A Quote by Miguel Ferrer
If your attention is on superfluous aspects that are not part of the story, then you can't be concentrating on the human realities of the piece.
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If you're concentrating so damn hard on a piece of mathematics or a musical - a piece of music or a piece of art, the restraint that holds the rest of - the rest of the world back off and vanishes in the rest of your life.
Each piece I tell stands on its own, and then it all ties together. It segues from story to story, and then I wrap it up - like three-piece movements in a symphony.
I think acting is only one part of the piece of the movie. I'ts an important piece, but I'd like to be involved in all the other aspects of making movies.
There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.
I think human beings exist in a social world. I write realistic fiction, and so it isn't that surprising that the social realities of their existence would be part of the story.
Experimental novels are sometimes terribly clever and very seldom read. But the story that appeals to the child sitting on your knee is the one that satisfies the curiosity we all have about what happened then, and then, and then. This is the final restriction put on the technique of telling a story. A basic thing called story is built into the human condition. It's what we are; it's something to which we react.
I tend to gravitate toward reporters who cover all aspects of the story: from personal aspects to the big picture that answer the 'so what' of a story.
Loneliness is the inability to share your story, your Unique Self story. For most people, the move beyond loneliness requires us to share our story with a significant other. For the spiritual elite, the receiving of our own story - and the knowing that it is an integral part of the larger story of All-That-Is - is enough. But for most human beings, loneliness is transcended through contact with another person.
I think the business of writing a great deal of it is the business of paying attention to your characters, to the world they live in, to the story you have to tell, but just a kind of deep attention and out of that if you pay attention properly the story will tell you what it needs.
Weaken a bad habit by avoiding everything that occasioned it or stimulated it, without concentrating upon it in your zeal to avoid it. Then divert your mind to some good habit and steadily cultivate it until it becomes a dependable part of you.
It's extraordinary to look into a baby's face and see a piece of your flesh and your spirit. It makes you realize you are a part of the human race.
I don't just want a piece of you and a piece of your life. Even if you were able, which you are not, to give me the biggest piece, that is not what I want. I want all of you and all of every part of you and your day.
I think when we get to a place that this is not the story, that everyone's story is a part of the story, then we can say this has changed. Until then, these are steps to change if they're consistent.
The hottest look for a night out is a deep side part. If that part is not at least three inches in length, then start over. The wider the part, the more open your eyes appear. It is an alluring and seductive look that will keep your date's attention the entire night.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
Because, if one is writing novels today, concentrating on the beauty of the prose is right up there with concentrating on your semi-colons, for wasted effort.
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