A Quote by Viola Davis

We all have different narratives; all of our narratives are at different stages of development. — © Viola Davis
We all have different narratives; all of our narratives are at different stages of development.
It's very white in Guernsey, not racist, but there's not a lot of understanding about different cultures there. So I grew up there then moved to Brighton and found all these other people with different experiences, different narratives.
Everybody's always living in fiction just as much as children, but the way our stories are faked is curtailed by all sorts of narratives we take into our own lives about what are the true narratives and what's not.
Generally, I start by observing the existing and popular narratives in my social spheres and media, and the pressures I face in my own life experiences. As someone who is "newly" trans, I am constantly thinking about what the dominant narratives are around transness, how my work can push against these narratives, and how it already falls into these traps.
Adults need more complex narratives. They have their own narratives. The main characters are themselves.
I'm often associated with parallel narratives or dual narratives. The 'Devil in the White City' was a fluke.
The media doesn't create narratives, really. They're not that powerful. What they do is they tap into narratives that are already bubbling amongst their viewership or readership.
World trade depends on differences among countries, not similarities. Different countries are in different stages of development. It is appropriate for them to have different patterns, different policies for ecology, labor standards, and so forth.
Narratives have the same power, I think. Some readers of my novels ask me, "Why do you understand me?". That's a huge pleasure of mine because it means that readers and I can make our narratives relative.
'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
The real world is devoid of narratives, after all. Narratives are just a thing that our brains do with facts in order to draw a line around the incomprehensible largeness of reality and wrestle it into something learnable and manipulable. Existence is devoid of plot, theme, and most of all moral.
There's such an array of brilliant roles for young women. You read all these amazing young women going through different stages in their life - different stages, different fascinations, different textualities, different friendships.
I think we all are born inside of our parents' narratives. We stay there for a good while. We are taught their narratives about everything: their marriage, the world, God, gender, identity, etcetera. Then, at some point, our own narrative develops too much integrity to live inside that story. We don't ever fully escape it, but we move into our own stories.
My role in the government was not to think about narratives and consistency with narratives, but think of the human consequences of rules.
Narratives are not fixed. We change our narratives for ourselves and we change them not necessarily deliberately. In other words, some people do, some people will constantly reconstruct their biography for external purposes, it's a very interesting political ploy.
In spite of recent trends towards fabricating photographic narratives, I find, more than ever, traditional photographic capture, the 'discovery' of found narratives, deeply compelling.
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