Top 1200 Different Story Quotes & Sayings - Page 2

Theatre is the principal job of an actor. An actor's job is to tell a story to someone in a room. TV and film can be great and I really love doing it, but it is a different way of telling a story.

The only difference is that religion is much better organized and has been around much longer, but it's the same story with different characters and different costumes.

Audiences have become so much more sophisticated, and they're looking for different eyes and different ways to tell a story. And 'Scandal' certainly gives us the freedom to take those chances.

My story is going to be completely different than someone else's story in terms of hard work. What I might feel like is hard work, another person is dying to do.

I know I dress up for stage but that's a different story, if you see me in my day to day clothes, I am on a much different vibe to what I used to be.

There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.

I just have certain interests in different things, and they inspire me to write. I would encourage aspiring artists or MCs or rappers to be able to grab from many different sources to create your story.

My belief is that if there are already games that other developers are putting out that are satisfying to the player, with great action or an excellent story, then I desire to create something different - a different type of experience.

I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.

I was told at first that being different was a bad thing. Everywhere I went, it was just, 'You're too different'... And it turned out that being different was the best thing that ever happened to my career. It is why people travel to my shows. It's why people want to hear my story and buy my book.

When I admire a writer, it's for the recognizable palette - Hemingway's minimalism, the dialogue, those isolated bar scenes. But with each story or novel, he shows me something different within the framework he's built - like noticing that there's a chair in the corner I didn't see in another story.

I find the mediums to be incredibly different. In theatre you're telling the same story eight times a week, and in TV that story is constantly changing and you're often telling it out of order based on shooting schedules.

Maybe there's a different story when it comes to hip-hop or different genres, but as far as rock music goes, I think there is a sort of fear of saying things people might be apt to criticize. Our band is the opposite of that.

I really like the story of Bardock, Goku's father. It's quite dramatic and the kind of story I absolutely wouldn't draw if it were me. It was like watching a different kind of 'Dragon Ball' in a good way, so I thought it was nice.

I think that people have to have a story. When you tell a story, most people are not good storytellers because they think it's about them. You have to make your story, whatever story it is you're telling, their story. So you have to get good at telling a story so they can identify themselves in your story.

I decided to make myself a little less precious with my storytelling. I think you can see from the first three pieces in the book that I have a long term relationship with the short story as a form and I really love an elegantly crafted story that has several elements that come together in a way that is emotionally complex and different from when we started. That kind of crystalline, perfect, idealized thing that the short story as a genre has come to represent.

If you are making a script based on a book it can be frustrating going back to the source novel, because you're turning the story into a totally different thing; the narrative of film is different from that of a book.

The Bible tells a story. A story that isn’t over. A story that is still being told. A story that we have a part to play in.

Good history is good story-telling. And good story-telling demands empathy; it requires understanding different actors, differing motivations, competing goals.

So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.

Every creative story is different. And every creative story is the same. There was nothing. Now there is something. It's almost like magic.

I like the idea all memory is fiction, that we have queued a couple of things in the back of our minds and when we call forth those memories, we are essentially filling in the blanks. We're basically telling ourselves a story, but that story changes based on how old we are, and what mood we're in, and if we've seen photographs recently. We trust other people to tell us the story of our lives before we can remember it, and usually that's our parents and usually it works, but obviously not always. And everybody's interpretation is going to be different.

I feel like Chicago it's so different, we have a different story to tell, we are seeing these things happen in this city every day, and whether you participate in them or not, you see it and get influenced by it.

A dream inspiring a story is different than placing a description of a dream in a story. When you describe a character's dream, it has to be sharper than reality in some way, and more meaningful. It has to somehow speak to plot, character, and all the rest. If you're writing something fantastical, it can be a really deadly choice because your story already has elements that can seem dreamlike.

The same myths are told in every culture, and they might swap out details, but it's still the same story. It's the same story, but with a different face.

The difference when I'm writing a story versus writing a joke is that writing a joke is so much more about the structure and it's less about the conversation. To me, the thing that I love about stand-up is the intimacy between performer and audience.To get it even more conversational was something that really appealed to me and that I really enjoyed doing. My early experiments with it, with just telling a story from my life on stage, it was so satisfying to do. And seemingly for the audience as well. It's a different thing, and it's a different feeling and a different vibe.

Every creative story is different. And yet every creative story is the same: There was nothing, now there is something. It's almost like magic.

If you take different mythologies from different cultures, the names may change and the story lines may vary but there is always something in common.

What I'm trying to do [in Winter Journal] is to tell the story of a man's life from birth, but there are different versions of him, four different versions.

When you tell a story, there are imperatives of structure, of style, of pacing and all of this, that are there simply because you want to make it a good story. When do you introduce your characters? When do you put them onstage, when do you take them off the stage? How do you weave the different threads of the narrative together?

There's definitely a feeling with a short story that it's pure story telling. You're not really worried about theme. You're not going to stay with the characters long enough to live your life with them. And you have different kinds of relationships with them.

The Universe story is the quintessence of reality. We perceive the story. We put it in our language, the birds put it in theirs, and the trees put it in theirs. We can read the story of the Universe in the trees. Everything tells the story of the Universe. The winds tell the story, literally, not just imaginatively. The story has its imprint everywhere, and that is why it is so important to know the story. If you do not know the story, in a sense you do not know yourself; you do not know anything.

'The Master and Margarita' is deeply to do with the unconscious. It is a story about a man who writes a story in a time when he's not supposed to write that story: the story of Pontius Pilate.

A news organization has a much different responsibility. I might not be telling you the whole story. I might not be telling you a story in a manner that is properly sophisticated.

The story is supposed to change; it's supposed to evolve. In making 'Cartel Land,' I ended up with a much, much different story than I started with.

People can get their news any way they want. What I love about what's happened is that there are so many different avenues, there are so many different outlets, so many different ways to debate and discuss and to inquire about any given news story.

It's amazing how flexible the human mind is in terms of jumping into a backstory or an aside. Vonnegut is a great example - it's not a linear story by any means, but somehow your brain is keeping it moving in one direction even though the story is taking you in all these different directions.

In film, you have to present everything on the screen so it's the opposite of what I usually do with storytelling. It forced me to think about how people walk, where they sit at that moment. With Princess of Nebraska, it was just fun to watch because the movie was so far from the story. It was very much a different story.

There are filmmakers like me in different parts of the world that have a story they want to tell, and it's a story that comes out of a certain historical reality within their own life. Then you get committed all the way and however long it takes, stay very committed.

I think that when I'm telling a story, I'm doing the best I can to tell the story as fully as I can, and if there are various fractures that happen in the story, then that's just the very thing that the story is as opposed to my looking for avenues of difference in one story. They just really do exist. For me, anyway.

I love doing period work, like all the trappings and the wigs and everything. It really helps when it's such a different world that you're immersing yourself in; it helps to get into the story, I think, and step into that different place.

The format of the book was the idea of my wonderful editor, Stephen Segal. Stephen and I had worked together before, on projects for the Interstitial Arts Foundation, and when he got the idea for an accordion-style book, he called and asked if I could write the story for it. I told him that I would love to try! And I knew it had to be a love story, because that's the sort of story you really want to hear from both perspectives. I mean, imagine if Pride and Prejudice were told from Darcy's perspective as well as Elizabeth's. It would be quite a different story!

It's funny: I look at songs, and I guess they each tell a story, and the different songs talk about different things. But they're unified by the rhythm underneath and the way that we decided to arrange and play them.

I think it worked two ways. One, a lot of people writing about the movie used that as shorthand and it could either be a good thing or they could use it to dismiss the movie like we were a copycat movie or something like that. It's very much its own story. It is a young woman in a post-apocalyptic society, but after that it's just a whole different kind of story and a different journey that she goes through.

I believe that a writer learns from every story he writes, and when you try different things, you learn different lessons. Working with other writers, as in Hollywood or in a shared world series, will also strengthen your skills, by exposing you to new ways of seeing the work, and different approaches to certain creative challenges.

Shooting a new story out of order every week is a fundamentally different beast than stage work, where you tell the same story every night from beginning to end.

Each director is different. Clint Eastwood and Chris Nolan are completely different, and I need to adjust to the story and character and the director and just my duty as an actor.

The Work always leaves you with less of a story. Who would you be without your story? You never know until you inquire. There is no story that is you or that leads to you. Every story leads away from you. Turn it around; undo it. You are what exists before all stories. You are what remains when the story is understood.

'Guild Wars 2' is a wider world in that we have a lot of different mechanics available for storytelling. We have our personal story, the story of you, which is tailored for your character. You answer some basic questions; you make some decisions early on, and that follows through.

'The Story Of A Marriage' was initially a short story I wrote, and before that, it was a family story. It was a story that a relative of mine told me about herself in the '50s, and it was a story that no one else in my family believes, and it might not be true.

I was working within a figurative representational framework, and there was a sense of reading the painting as a transparency, or truth, or autobiography, which I think is partially the burden of artists of color - or women, or anybody who is representing a so-called minority position. Are you actually telling a true story, or your own story? You don't just get to tell a story. The readings of the work didn't necessarily conform to my own understanding of mythology, where violence and eroticism and the body and all of these different forms coexist all the time.

You don't want to write the same story again, but people are like 'We want the same story but different.' Well, how do you do that?

People should listen to my music if they are into a lot of different genres and kind of want to get it all at once, if they want to listen to a story, an interesting story about somebody else.

Ghosts are a metaphor that can be interpreted so many different ways. There's no ending to what you can do. You can make it a fun ghost story. You can make it a deeply disturbing, psychological ghost story.

And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.

My family is no different from yours. We may be different from the geography that we come from. Some of you all may pray differently than I do, some of you all may be from a different ethnicity, but we all have the same story.

Certainly, it includes that. I want the story to be interpreted in as many ways as possible, and of course, the bad blood aspect of it included. For instance, perhaps this is a story not about the hereditary nature of evil, but rather you could interpret it from a different perspective, too.

I don't want to be like other authors and say that there are only a few story lines in literature. A story is like a human face. We have as many stories as human faces. You might have similar facial features, but they're all a little different.

The only difference is that religion is much better organised and has been around much longer, but it's the same story with different characters and different costumes.

And I guess I'm a kid at heart in that when I go for entertainment, I want to be totally transported. I want to go somewhere else; I want to encounter different things, different beings, different universes. And so I love that aspect of being able to play those things in both 'True Blood' and in 'American Horror Story.'