Top 1200 Cinderella Story Quotes & Sayings - Page 16

When I get moved to write a story, I don't question the story. I dive right in, and I try to ignore the voices that are chattering away at me: 'You can't do that', 'You shouldn't do that'. I just sort of leap and take a chance and go for it.

I think I have learned to really get out of the mathematical side of myself that looks at story and story structure and go with, "Okay, well, what would people do in real life?"

I've seen cookbooks from lots of great chefs that have been disappointing. A book, to me, it has to have a story. Some of these people, they open a restaurant, and one year later, there's a cookbook. There's not much of a story yet.

Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.

I may have a story idea but everything starts moving when I am able to see my characters clearly. They then organically lead or respond to the story or the universe I want to create.

In stories like Cinderella and Beauty and the Beast, they always say the heroine is 'as good as she is beautiful.' I wondered if people just wanted that to be true, wanted the beautiful to be good. I wondered if they wanted the ugly to be bad because then they wouldn't have to feel bad for them.

When I was growing up, Brandy was TV star, reality star, a pop star, a Cover girl, Grammy winner, had her own Brandy doll, and was the first African American to play Disney princess Cinderella. Most importantly, she is a survivor. Many only judge and remember a person's most recent failure.

The Song is a gritty, realistic, and powerful film. The acting and production quality are excellent, and the story is captivating. Although not for children, the story is a good reminder to adults of what really matters!

I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.

The value of a story like 'Deadline' is kids get to look at death at the perfect distance. They can put the book down. They can experience the story, rub up against it, but it's not real life.

The devadasis have a multilayered story, a story in which poverty, deprivation and injustice against women is central - but what has happened to them is absolutely an outcome of imperialism and the impact of British rule in India.

My [story] outlines are usually about 5-6 pages long. I'm essentially telling myself the story in short form. I try to make it clear who the major characters are, what they want, and what obstacles they face.

Money is the probably the most successful story ever told. It has no objective value... but then you have these master storytellers: the big bankers, the finance ministers... and they come, and they tell a very convincing story.

In 1990 I did a story with Helena Christensen about a woman who lives in a trailer in the middle of the desert and finds a little crushed UFO with a martian who has survived the crash. She takes him home, and they fall in love. Later he has to meet with his fellow martians who have arrived to rescue him. It's a sad ending. This was my first truly narrative story and apparently the first narrative story in fashion photography.

There's an indie movie I did called 'Fat Kid Rules the World,' which was based on a teen book, and it's a fabulous story, and hopefully it'll go to theaters because it is an amazing story.

I love all of the ballets that have a really strong story in them where I get to play a character. I don't enjoy the ones that are more technical without a story line and it's just me on stage dancing.

I guess you just feel like there's a whole story that's not being told in movies. You're only seeing the macho guy version of a story that from the woman's side, may be completely different.

what storyteller is adequate to her story? The story carries us along, bottles on the tide, each with our secret mesage and the fervent hope that it does not turn out to be blank.

Every good story needs a complication. We learn this fiction-writing fundamental in courses and workshops, by reading a lot or, most painfully, through our own abandoned story drafts. After writing twenty pages about a harmonious family picnic, say, or a well-received rock concert, we discover that a story without a complication flounders, no matter how lovely the prose. A story needs a point of departure, a place from which the character can discover something, transform himself, realize a truth, reject a truth, right a wrong, make a mistake, come to terms.

I will never repeat something verbatim on the air unless I know it's accurate. And when you go to the source, sometimes there's a better story beyond the original story. That happens all the time.

I heard my first laughter on stage, when I was about 10 years old. It was gold pantomime and I remember I was playing Baron Fitznoodle, who was the father of the ugly sisters in "Cinderella." And I walked on and got a great big laugh and I thought that was fantastic, until I looked down and found that my flies were open. And so I always check my flies. I even check my flies on radio.

If the story is insensitive to a person and is not nuanced enough, that's a story I don't want to be a part of. Otherwise there is no other character that I don't want to play.

It's my story ["Selling Isobel"].I chose to write a screenplay about it because I think film is the quickest medium to get a story out, rather than writing a book.

Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it

The story of everyday people rising up to fight against evil to protect their families - it's a story that we've seen play out throughout history and across the world today.

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.

Everyone has a story, and the story changes, and the more I can root into the truth of things - it's so hard - I don't think anyone ever really puts it all together. But somewhere along the way it all became fused.

Visually, I want to try everything. But I believe that every shot of my films really expresses what I think about the story and the character. The most important thing is the story, not the images.

In 1978, 'Time' magazine sent me to do a story about children in Southeast Asia fathered by American GIs. What I saw was very upsetting, but the story they published was whitewashed.

And what it depends on, of course, is whether the story itself is worth the ethical compromise it requires and whether the competition is onto the story.

Some people do want to stand on the rooftop and scream out their story. Others are cowering in the corner, or sitting with a blank face in class, and not knowing how to tell their story.

With me, a story usually begins with a single idea or mental picture. The writing of the story is simply a matter of working up to that moment, to explain why it happened or what caused it to follow.

'A Tree Grows in Brooklyn' by Betty Smith is one of my favorites. Even though it doesn't have any monsters or crazy fantasy in it, it's such a raw story, and I can really relate to the characters. I think it's a beautiful story.

Each of us is born with a series of built-in confusions that are probably somehow Darwinian. These are: (1) we're central to the universe (that is, our personal story is the main and most interesting story, the only story, really); (2) we're separate from the universe (there's US and then, out there, all that other junk - dogs and swing-sets, and the State of Nebraska and low-hanging clouds and, you know, other people), and (3) we're permanent (death is real, o.k., sure - for you, but not for me).

I never know exactly where I'm going with a story, whether it's a short story or a novel. If I did I'd soon grow bored of it. The fun, for me, is in the finding out and the making sense of it.

Most kids don't believe in fairy tales very long. Once they hit six or seven they put away "Cinderella" and her shoe fetish, "The Three Little Pigs" with their violation of building codes, "Miss Muffet" and her well?shaped tuffet—all forgotten or discounted.And maybe that's the way it has to be. To survive in the world, you have to give up the fantasies, the make?believe.

No ancient story, not even Homer's Iliad or Odyssey, has remained as popular through the course of time. The story of Rama appears as old as civilization and has a fresh appeal for every generation.

It's sometimes hard to wrap your head around a big story, and for most of us drawing editorial cartoons 9/11/ 01, that was the biggest story of our professional lives.

It is possible to take the story of Noah figuratively, although virtually every Near East ancient civilization has its own version of the flood story (including the amoral epic of Gilgamesh).

The "I've tried everything" story ensures failure. You must create an empowering story that recognizes that everyone has failed a lot but successful people have found a way to rebound until they succeed.

We are trying to communicate that which lies in our deepest heart, which has no words, which can only be hinted at through the means of a story. And somehow, miraculously, a story that comes from deep in my heart calls from a reader that which is deepest in his or her heart, and together from our secret hidden selves we create a story that neither of us could have told alone.

It's always a long goddamn story. Every time you ask anyone anything really important, it's a long story.

When a story or part of a story comes to me, I turn it over in my mind a long time before starting to write. I might make notes or take long drives or who knows what. By the time I give myself permission to write, I know certain things, though not everything. I know where the story is headed, and I know certain crucial points along the way.

Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it.

You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it's going to be about something and it does the opposite.

I was immediately swept up in Ariane's story. Equal parts thrill-ride and love story, The Rules is intense and emotional. This book stays with you long after you finish.

The Negro. The South. These are the details. The real story is the universal one of men who destroy the souls of other men (and in the process destroy themselves) for reasons neither really understands. It is the story of the persecuted, the defrauded, the feared, and detested. I could have been a Jew in Germany, a Mexican in a number of states, or a member of any 'inferior' group. Only the details would have differed. The story would be the same.

I think writers can get too attached to these worlds they create, these characters they make real, so that, instead of ending the story where the story's asking to end, they draw it out, unable to let go.

America's story is largely an immigrant story. That hasn't changed since the Pilgrims ate their first turkey some four hundred years ago, and they were the original boat people.

Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.

A ten- or twelve-page story seems too easy, which is a funny thing to say considering that writing a decent short story is devastatingly difficult. Yet it still seems easier than a novel. You can turn a short story on a single good line - ten pages of decent writing and one good moment.

As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.

With 'The Forty Rules of Love,' I wanted to write a love story. But I wanted a love story with a spiritual dimension. For me, that took me to Rumi. And from Rumi, I went to Shams of Tabriz. That's how the story took shape.

I think if the content is good and the content is interesting, the at home viewer will watch it for as long as the story is interesting thus the responsibility for making the story interesting falls on the shoulders of the reporter or the producer. Then I'm disappointed that producers have felt that television can only be told in 59 second story bursts because we've become, it's become journalism based on MTV, video electronic editing and cutting.

We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.

I'll give you the sole secret of short-story writing, and here it is: Rule 1. Write stories that please yourself. There is no rule 2. The technical points you can get from Bliss Perry. If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.

I think that what I do is a form of pathetic fallacy, the literary trope in which nature is in sympathy with the mood of the story. I connect the physical setting and props in the story to the emotional state of the characters.

The story of the Zen Master whose only response was always "Is that so?" shows the good that comes through inner nonresistance to events, that is to say, being at one with what happens. The story of the man whose comment was invariably a laconic "Maybe" illustrates the wisdom of nonjudgment, and the story of the ring points to the fact of impermanence which, when recognized, leads to nonattachment. Nonresistance, nonjudgement, and nonattachment are the three aspects of true freedom and enlightened living.

My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.

Look at Chancellor [Angela] Merkel, her personal story helps to tell a story of incredible achievement that the German people have embarked on and I think is something that you should be very proud of.