A Quote by Sid Caesar
The trouble with telling a good story is that it invariably reminds the other fellow of a dull one.
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I think that people have to have a story. When you tell a story, most people are not good storytellers because they think it's about them. You have to make your story, whatever story it is you're telling, their story. So you have to get good at telling a story so they can identify themselves in your story.
Good history is good story-telling. And good story-telling demands empathy; it requires understanding different actors, differing motivations, competing goals.
Well I thought my razor was dull until I heard his speech, and
that reminds me of a story that's so dirty I'm ashamed to think of
it myself.
A story never looks as good as when the other fellow buys it.
And she never could remember; and ever since that day what Lucy means by a good story is a story which reminds her of the forgotten story in the Magician's Book.
But the trouble is that when you drink it, you invariably meet other people drinking it.
Say less than the other fellow and listen more than you talk; for when a man's listening he isn't telling on himself and he's flattering the fellow who is.
Incompetents invariably make trouble for people other than themselves.
Peter was dull; he was at first Dull; - Oh, so dull - so very dull! Whether he talked, wrote, or rehearsed - Still with his dulness was he cursed - Dull -beyond all conception - dull.
It's all a question of story. We are in trouble just now because we do not have a good story. We are in between stories. The old story, the account of how we fit into it, is no longer effective. Yet we have not learned the new story.
With poets, the choice of words is invariably more telling than the story line; that's why the best of them dread the thought of their biographies being written.
The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him
Telling the story with only a few shots, I love that style. It makes you feel like you're part of the action, part of the story. It reminds me of the theater, where one act is basically like one long shot. It almost makes you forget that you're seeing a movie.
No story ever looks as bad as the story you've just bought; no story ever looks as good as the story the other fellow just bought.
There's no quit in our family. Our dad was the chief proponent of that. [On the set] we were constantly telling each other, Stay true to the story, we know that we love each other, keep communication open. We knew how unique this was-you're doing a movie that really could be put out there all over the world, and you're telling this personal story about your family.
Well, let’s start with the maxim that the best writing is understated, meaning it’s not full of flourishes and semaphores and tap dancing and vocabulary dumps that get in the way of the story you are telling. Once you accept that, what are you left with? You are left with the story you are telling.
The story you are telling is only as good as the information in it: things you elicit, or things you observe, that make a narrative come alive; things that support your point not just through assertion, but through example; quotes that don’t just convey information, but also personality.
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