A Quote by Rachael Taylor

For me, clothing is nothing without the story behind it. Everything I own evokes some kind of memory. — © Rachael Taylor
For me, clothing is nothing without the story behind it. Everything I own evokes some kind of memory.
It occurred to me that there was a story behind the scar -- maybe not as dramatic as the story of my wrists, but a story nonetheless -- and the fact that everyone had a story behind some mark on their inside or outside suddenly exhausted me, the gravity of all those untold pasts.
A lot of time, with stories, I'll start out with a title and try to dream myself into the story that it evokes - a kind of subconscious exercise in which I'm trawling for some kind of entryway into fiction.
There is no rigorous and effective deconstruction without the faithful memory of philosophies and literatures, without the respectful and competent reading of texts of the past, as well as singular works of our own time. Deconstruction is also a certain thinking about tradition and context. Mark Taylor evokes this with great clarity in the course of a remarkable introduction. He reconstitutes a set of premises without which no deconstruction could have seen the light of day.
A story is ultimately a memory. It's important when you're telling a story to think about why this memory is a memory. You don't remember everything in life; you just remember certain things - so, why this one?
Memory is everything. Without it we are nothing.
So many people that we met had some sort of connection to the [Olympics] games. Some story about how they volunteered there, or some sort of memory of it. It still is in the cultural memory and identity of these cities as much as it is in the physical and architectural memory. It's where these two things overlap, I think, that we're trying to explore with the photos.
You have to begin to lose your memory, if only in bits and pieces, to realize that memory is what makes our lives. Life without memory is no life at all... Our memory is our coherence, our reason, our feeling, even our action. Without it we are nothing.
You need to keep everyone wanting more. Every character has so much depth, and there was so much thought that went into it, but it would've taken away at some point from the main story, and everything I think kind of was woven together really beautifully, so that you cared about everyone, and everyone had their own story, but everything helped the main plotline.
Places seem to me to have some kind of memory, in that they activate memory in those who look at them.
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.
Some of the domestic evils of drunkenness are houses without windows, gardens without fences, fields without tillage, barns without roofs, children without clothing, principles, morals or manners.
Memory plays tricks. Memory is another word for story, and nothing is more unreliable.
I have actually been very fortunate to be able to make films on my own credit card without having huge funders behind me dictating how the story should be told.
A 60-story tower in New York evokes a 70-story tower in Chicago [and] a 60-story tower in New York evokes a 70-story tower directly across the street.
I sell ideas. Actually, if you think about it, everything is really no more than idea. The past is nothing more than a memory, which is one kind of idea. The future is still a hope, another kind of idea. The present is fleeting and becomes a memory before you can put your hands on it. All ideas. I sell ideas.
There's a story behind everything..but behind all your stories is always your mother's story..because hers is where yours begins.
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