Top 1200 Different Story Quotes & Sayings

Explore popular Different Story quotes.
Last updated on December 21, 2024.
There are many different ways of telling an interactive story, I think. I don't think there's a right one and a wrong one. There are different games telling different types of stories in different ways.
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 probably write the same story a hundred different ways. I suppose right now I am looking for the 101st different way to write that same story. And the 102nd, and 103rd and 111th and 133rd.
Plays are wonderfully different than short stories, first because it's a story that's on a stage, but there's a different sort of tension that appears on stage - you get to see your characters in a different way - like with lights.
I think all artists have a different story to tell, and no story is the same. — © Solange Knowles
I think all artists have a different story to tell, and no story is the same.
It's only a story, you say. So it is, and the rest of life with it - creation story, love story, horror, crime, the strange story of you and I. The alphabet of my DNA shapes certain words, but the story is not told. I have to tell it myself. What is it that I have to tell myself again and again? That there is always a new beginning, a different end. I can change the story. I am the story. Begin.
I have not chosen to create a linear story, but a series of different narratives: in the end there are five plays that almost, but don't quite, add up to one play... I start with the story of Candide, being performed as a play within a play, to bring the audience up to speed with the story.
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 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.
As a writer, I challenge myself not to tell the same story - to tackle different characters with different issues.
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.
I think actors are very obsessed about looking different and behaving differently, but all people need is just a different film. They don't want a different you; they want a different story.
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story
I think it's a great story, the story of Babel. I think anyone can direct it as an analogy for a lot of different situations.
Eventually, I think cinematography for every culture is a way to explore different stories, different ways of also delivering a story.
Eva is a story of repetition. It is a story where our protagonist faces the same situation many times over and determinedly picks himself back up again. It is a story of the will to move forward, even if only a little. It is a story of the resolve to want to be together, even though it is frightening to have contact with others and endure ambiguous loneliness. I would be most gratified if you found enjoyment in these four parts as it takes the same story and metamorphoses it into something different.
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story. — © Bill Sienkiewicz
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.
Songs hold different memories for different people and the great ones are the ones that become a part of you and your story.
The Greeks used to use the same stories, the same mythology, time after time, different authors. There was no premium placed upon an original story, and indeed, Shakespeare likewise. A lot of people wrote plays about great kings. They didn't expect a brand-new story. It was what that new author made of the old story. It is probably the same now. We disguise it by inventing what seem to be new stories, but they're basically the same story anyway.
Every love story or Hindi film has the same story, but what makes it different is the treatment it's given. Much depends on how it is stylised, how the characters are moulded, and how the story is treated.
There are different games for different people and different expectations. Sometimes you want a great story, and sometimes you don't. I don't believe we should have stories in every single game. Sometimes it doesn't matter.
What I may intend for a story to communicate and what a story ends up communicating could be two different things. And it could be an even more positive thing.
One of my first jobs was in a soap opera, five days a week. And what I found is, although there are different directors coming in and different crews, you just lived in your character. It's the nature of the story, the ongoing story, and it can get deeper and deeper.
The music takes on all different jobs and hopefully is part of telling the story. Each song has to be a story unto itself. It's a very different set of muscles.
Foreign novels are less action-oriented. They have a different pace; they’re more reflective. They challenge us to look for the story, find the story within the story.
I keep telling this story - different people, different places, different times - but always you, always me, always this story, because a story is a tight rope between two worlds.
I would rather have a candidate that`s cohesive in bringing people together from different ethnic backgrounds but around the same policy than I would a politician that jumps and stumps in different rooms and has a different story every time.
Every family has a story that it tells itself, that it passes on to the children and grandchildren. The story grows over the years, mutates, some parts are sharpened, others dropped, and there is often debate about what really happened. But even with these different sides of the same story, there is still agreement that this is the family story. And in the absence of other narratives, it becomes the flagpole that the family hangs its identity from.
I think it's unfortunate when people say that there is just one true story of science. For one thing, there are many different sciences, and historians will tell different stories corresponding to different things.
A short story is a different thing all together - a short story is like a kiss in the dark from a stranger.
The architecture of a story can be a little bit different if it's a true story.
What serialized cable dramas have given us is the opportunity to not simply tell the same story with slightly different words and different costumes, every week. people are really mining the ability of storytellers to tell a long form story that goes from A to Z, and to trust that an audience will follow that. If they miss it, over the course of the week, they can watch it online or buy the DVD. There are so many different ways of interacting with it. Storytelling in television is getting more complex and more nuanced.
'Udta Punjab' is a story of four different people merged together. There are four different stories and four different perspectives.
Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.
Writing two stories [in the Thorn and the Blossom] about the same set of events that were complete stories in themselves, but also added up to a larger story. As I was writing them, I kept going back and forth, because something would happen in one story that would have to be reflected in the other story. And yet the same event would also have to be perceived in different ways by Brendan and Evelyn, because they are different people with their own interpretations.
The original title for 'In the Mood for Love' was called 'A Story About Food.' The idea was to tell a love story through different courses.
Each story has a different approach for me and I try to work with lighting that will tell you visually the story better than if it was shot in available light.
Everybody's got a different way of telling a story - and has different stories to tell.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way.
I am a story-teller working with a craft. My job is to use my craft - which is a different thing to my race - and tell a story well. — © Gavin Hood
I am a story-teller working with a craft. My job is to use my craft - which is a different thing to my race - and tell a story well.
Of course the female experience is different from those of our male peers - just like every woman's story is different from their fellow females.
I'm just trying to make the point that the story we're telling ourselves is often very different from the story we're telling the people around us.
We all become different readers in how we respond to books, why we need them, what we take from them. We become different in the questions that arise as we read, in the answers that we find, in the degree of satisfaction or unease we feel with those answers...In the hands of a different reader, the same story can be a different story.
The Little Friend is a long book. It's also completely different from my first novel: different landscape, different characters, different use of language and diction, different approach to story.
I fundamentally believe that no one can teach you how to write - finding out how to write a story is part of the process of creating a story - but you can really learn through exposure to different writing, to different art forms, to different modes of storytelling, and with mentors who are able to get you to step outside your comfort zone.
The experience of reading a printed comic book will never change, but now, thanks to the digital age, there are many different ways to enjoy the same story. Digital comic books, of course, can be interactive in many different ways, allowing the reader to feel like a participant in the story.
I always think that's neat, when you can hear a story told from different points of view, different perspectives.
I would say a good leader brings results. A great leader writes a new story, it's different. Obviously a new story has to incorporate a lot of results. But a story is a chapter in the life of a company that people want to write and want to remember.
The convention of the coming-of-age story and the love story were literally abandoned - because they had to be - and a new kind of coming-of-age and love story emerged that required a different kind of telling the story.
We're telling a story. And the demands of that are different from the demands of a documentary. The audience must believe in order to keep faith in the story.
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
Every movie requires its own style. Just be honest to the story. Tell the story in the best possible way that is different, exciting and original. — © Oliver Stone
Every movie requires its own style. Just be honest to the story. Tell the story in the best possible way that is different, exciting and original.
The story you envision as you start out is always a great story; when the facts turn out to be different from, or more complex than, what you expected, your first reaction is always disappointment. That's when you must fight the urge to bend the story to your preconceived notions. First, it's dishonest. And second, in the end, the truth is always the best story.
I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.
I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college.Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.
Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio.
I always feel like people misunderstand the difference between an Asian story and an Asian-American story. That's completely different, too. I have friends who grew up in Asia, and our experiences are so different. Even though we might look the same, I feel like being Asian and then being Asian-American is completely different.
It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.
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