Top 1200 American Horror Story Quotes & Sayings - Page 16

I think it's very interesting how an American network chooses to tell this story. We don't name one country the good guy and the other country the bad guy. We talk about this co-responsibility that we share, in everything.

I was asked in an interview once: You're writing another book with a female lead? Aren't you afraid you're going to be pigeonholed? And I thought, I write a team superhero book, an uplifting solo hero book, I write a horror-western, and I write a ghost story. What am I gonna be pigeonholed as? Has a man in the history of men ever been asked if he was going to be pigeonholed because he wrote two consecutive books with male leads?

When I was a kid, I was always going to bed creating a story and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.

One of the reasons why I agreed to do commercials is that they gave me complete freedom. I just had to have the car in it and write a story around it. I wanted to do something serious set in a Latin American country, but again, it was an exercise in style for me.

Some segments within the American government orchestrated the attack to reverse the declining American economy, and its grips on the Middle East, in order to save the Zionist regime The majority of the American people as well as most nations and politicians around the world agree with this view.

No matter how it started, I grew up with a great American love story. Two parents who didn't fight, enjoyed having parties and being together, and it was a great way to grow up.

I didn't know the extent of American obsession with Uganda until I got there and saw it. You ride in the plane and it's filled with American missionaries. Uganda is the No. 1 destination for American missionaries in the world.

I can be an artist a posteriori, not a priori. If my pictures tell the story, our story, human story, then in a hundred years, then they can be considered an art reference, but now they are not made as art. I'm a journalist. My life's on the road, my studio is the planet.

The difference between the American version of 'Live Aid' and the British one - in England, if you wanted a cup of tea, you made it yourself. If you wanted a sandwich, you bought it. In typical American style, at the American concert, there were laminated tour passes and champagne and caviar.

I don't want to just make horror movies; I don't want to just make any type of movie - I don't just like horror movies, I love movies.

The most questionable thing I did was make Superman a government agent. If this had been a Superman story, I'd never have done that - and I know that, because I have a Superman story I want to tell someday. In this story, Batman was the hero, so the world was built around him.

Our story, Maryland's story, is the story of better choices and better results.

Because when I go places and I talk to kids and I talk to parents and I talk to athletes all over, and they look at my story and they see a person, African-American or not, they see something that they can relate to.

The history of American higher education over the twentieth century is an extraordinary one, the story of the creation of a powerhouse set of institutions that are the envy of the civilized world. Once they were the province, both among the student and faculty bodies, of children of privilege, generally WASPs.

The American mood, perhaps even the American character, has changed. There are few manifestations any longer of the old American self-assurance which so irritated Dickens. Instead, there is a sense of frustration so perceptible that even our politicians have attempted to exploit it.

Journalism classes teach us that one must extract oneself from the story in order to report without bias, but often we need to be in the story in order to understand, to connect, to help the audience identify or else it has no heart; it could be a robot telling the story, for all anyone cares.

In TV, you're a 'writer for hire.' That means you're trying to guess what your boss wants and delivering that story. There's a lot of spitballing. The big thing is 'breaking story,' which means coming up with a story. You do it by episode and put it all up on a board.

We were American citizens. We were incarcerated by our American government in American internment camps here in the United States. The term 'Japanese internment camp' is both grammatically and factually incorrect.

I hope I'll have the opportunity to debate how we reform and update our immigration system. I will relate my own story and that of the countless immigrants whose American Dream stories have helped build our country into the greatest nation in the world.

You have such a sacred responsibility when you touch John Lewis's story, when you touch the story of the movement. You don't want to leave anything out, but you want to tell a good story so the people will read it and they're engaged and they don't fall apart with extraneous details.

Change your story, change your life. Divorce the story of limitation, and marry the story of the truth and everything changes.

I look in the eyes and I see the heart. As long as it's a human story. I would like to turn on my television and see African American, Hispanic, Asian as well as Caucasian. And I think there are probably more people like me.

Nondiscrimination is a great American principle. It's a core American principle, as is religious freedom. When you have two important American principles coming into tension, into conflict with one another, our goal as Americans is to sit down and try to see if we can uphold both.

Do not think your story [for a one-person show] is unique. . . . your story is the same as millions of others. But that's o.k. - you just need to find the one or two things that makes your story interesting enough to justify someone leaving their apartment and exchanging currency.

Up to our own day American history has been in a large degree the history of the colonization of the Great West. The existence of an area of free land, its continuous recession, and the advance of American settlement westward, explain American development.

An important part of building a new culture was allowing people to complain about their past. At first, the more they complained, the worse the past would seem. But by venting, people could start to resolve the past. By bitching and bitching and bitching, they could exhaust the drama of their own horror stories. Grow bored. Only then could they accept a new story for their lives. Move forward.

The truth is that 'Twilight' is not a story about Bella and Jacob. It's a story about Bella and Edward. That was the story this writer wanted to tell.

My parents telling me that if there is a story you feel compelled to share, then you are responsible for doing that. You can't ask someone else to take on that story - or you can, but you have to deal with whatever the fallout is. If the story doesn't end up being told the way you originally heard it or that you feel it needs to be expressed, that's on you.

I am keenly aware of how many people the Six of Crows stories' brought into the Grishaverse, and to me, the story of the Crows, of Kaz and his crew, provides a very different kind of story and point of view, than Shadow and Bone' and Alina's story.

I'm really trying to just keep this internal, and be faithful to the story and the characters, and keep 99.9% of my brain there, serving the story. It's a great network. It's the golden network of cable, so it's totally an honor to be there and tell this story, but I try not to think about anything beyond that.

Matthew loved the magi. He gave their story more square inches of text than he gave the narrative of the birth of Jesus. He never mentions the shepherds or the manger, but he didn't want us to miss the star and the seekers. It's easy to see why. Their story is our story.

We've heard so much about the American dream: well, Trump is the American nightmare made flesh. All the things about 'the ugly American' that we worry about and which the Americans see in themselves, it's all of that. This is a politics of egotistical display.

It wasn't long after I began writing Star Wars that I realized the story was more than a single film could hold. As the saga of the Skywalkers and Jedi Knights unfolded, I began to see it as a tale that could take at least nine films to tell - three trilogies - and I realized, in making my way through the back story and after story, that I was really setting out to make the middle story.

I got the feeling: It's time to do a Marco Polo story. I felt like everything was lining up right because long-form television series were becoming to me like the new great American novel.

It was OK for the media to pursue Former President Clinton year after year for lying about a private, consensual sexual affair, but we have five justices who committed one of the biggest crimes in American History, and it ceased to be a big story.

I like ambiguity because you may be the villain in someone else's story and the hero in your own, and I think very often, African-American characters are either one thing or the other. You shouldn't have to be perfectly good or perfectly bad. You don't even have to be magical.

I'm not against White writers writing about Blacks as long as they are as objective as say James McPherson writing about an Irish American janitor in his brilliant short story "Gold Coast."

The 'American Families Plan' is not about helping American families, it is about redefining what it means to be an American family - allowing for big government to infiltrate Alabamians homes and daily lives.

This is a story about a family and, as there is a ghost involved, you might cal it a ghost story. But every family is a ghost story. The dead sit at out tables long after they have gone.

It is hard as an American to support the failure of American military operations in Iraq. Such failure will bring with it the death and wounding of many American service members, and many more Iraqis.

Horror need not always be a long-fanged gentleman in evening clothes or a dismembered corpse or a doctor who keeps a brain in his gold fish bowl. It may be a warm sunny day, the innocence of girlhood and hints of unexplored sexuality that combine to produce a euphoria so intense it becomes transporting, a state beyond life or death. Such horror is unspeakable not because it is gruesome but because it remains outside the realm of things that can be easily defined or explained in conventional ways.

What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.

The short story is kind of a precision tool. It allows me a certain type of freedom to go in and out of the American landscape, without having to commit myself to a full-length novel. I find a lot of novels out there very boring.

The same sensations that you get in heavy metal are in horror movies. Heavy metal sounds evil and horror movies are evil, ha ha!

It's hard to tell if anyone's interested in reading a serialized story. But it's interesting to put in a cliffhanger each week. That was popular in old comic strips. They'd write a weekend story different from the daily strip. So people follow one story day to day, and a separate story on weekends. If you read them, you think "I'll read two more." Then you're like "I gotta find out!" And you read 500 more.

There are very few horror shows, where you have a long running arc. Most horror shows play as a sort of an anthology. Buffy - a terrific show - had the-demon-of-the-week. Twilight Zone - X Files - these things had an anthology approach. Our show is a long running drama with the same creatures every week.

I consciously think about the ethnicity of every character that I create and cast. But one thing that is equally important is quality representation. It's not enough to put an African-American in there, a female in there, a gay character in there: How significant is their contribution? Can they drive the story?

We do not have an American culture. We have a white American culture and a black American culture. So when those two groups try to get together, [it's] very difficult because they each feel like they have the right to their culture.

O.K., if the desire to knock America off its pedestal, to redistribute American income to other countries, to shrink America's footprint in the world, makes you anti-American, then Obama is in fact anti-American.

When I was a kid, I was always going to bed creating a story, and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.

For me to do a story, something has to happen to someone. It's a story in the way you learn what a story is in third grade, where there is a person, and things happen to them, and then something big happens, and they realize something new.

I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.

Horror would not annoy a soldier any more than the sight of a hammer annoys a carpenter. It is sentimental to pretend that horror is not the tool of the soldier, just as the hammer is the tool of the carpenter. We live off death and the threat of death and we must take it calmly and use it well.... Eventually I came to enjoy killing, as a pianist enjoys the Czerny which keeps his fingers limber for the Beethoven.

Sin in the Second City is a masterful history lesson, a harrowing biography, and - best of all - a superfun read. The Everleigh story closely follows the turns of American history like a little sister. I can't recommend this book loudly enough.

For me to do a story, something has to happen to someone. It's a story in the way you learn what a story is in third grade, where there is a person and things happen to them and then something big happens and they realize something new.

'Push' had a story, 'The Paperboy' story you could just throw up in the air and shoot holes through the book because the story wasn't as strong. But I felt the characters were stronger in 'The Paperboy'; they were vivid.

When we read a story, we inhabit it. The covers of the book are like a roof and four walls. What is to happen next will take place within the four walls of the story. And this is possible because the story's voice makes everything its own.

Stephen Miller said, "Over time you would cut net migration in half, which polling shows is supported overwhelmingly by the American people in a very large number." This is why Donald Trump got elected. "It's a major promise to the American people to push for merit-based immigration reform that protects American workers, American taxpayers - protects the American economy - and prioritizes the needs of our citizens, our residents, and our workers. It's pro-America immigration", he said.

The full horror of what has happened in the United States earlier today is now becoming clearer. It is hard even to contemplate the utter carnage and terror which has engulfed so many innocent people. We've offered President Bush and the American people our solidarity, our profound sympathy, and our prayers. But it is plain that citizens of many countries round the world, including Britain, will have been caught up in this terror.

Stories are people. I'm a story, you're a story ... your father is a story. Our stories go in every direction, but sometimes, if we're lucky, our stories join into one, and for a while, we're less alone.