Top 1200 Epic Stories Quotes & Sayings - Page 20

If somebody gave you several thousand dollars and nothin' to do but write, would you be a writer then? Would you tell your stories, your family's stories, then?

Stories in families are colossally important. Every family has stories: some funny, some proud, some embarrassing, some shameful. Knowing them is proof of belonging to the family.

Well, life is dark. We live in a very dark world. When they call them "dark films" it annoys me, because they're very real stories. They're stories I have seen or experienced or witnessed, and coming from that place, that is the hope of humanity.

I feel like 'Beware' is a heartfelt song - it's something that is definitely a story, something that I cultivated from personal stories, some from just other stories in just wanting to make a good song.

To poison a nation, poison its stories. A demoralised nation tells demoralised stories to itself. Beware of the storytellers who are not fully conscious of the importance of their gifts, and who are irresponsible in the application of their art: they

Predominantly I've worked with Blumhouse, and they've been really great to me. We are extremely grateful for employment. But maybe my dark soul attracts these darker, horrifying stories. But I don't particularly close myself off to any employment - any stories, I should say.

I think Hollywood is so driven by money, the people who are making the decisions are not necessarily reflective of the melting pot, so what stories are you going to want to tell? You're going to want to tell stories about yourself.

If you look closely, you'll see that Marvel basically has three Thanoses. There is the 1970s Thanos appearing in the movies. This is before he got the Infinity Gauntlet. Then there are the Thanos stories I'm telling. And finally, there is the Thanos that appears in the mainstream Marvel stories.

In the electronic game world, I know I have a reputation for doing the cyberpunk thing, and for doing the serious epic fantasy thing, but if you go back to when I was a kid, I've been a Disney fan all my life.

I'm not sitting around, waiting for something to run across the Internet so I can go, 'Oh, that's what I'mma write about.' I just go around, live life, make music, and it's epic.

I think the 'Boxers' book was easier for me to envision as a comic, because they were on this epic journey. These teenagers basically gathered into this army and marched to the capital city where they had a showdown with the Europeans and Japanese. On the 'Saints' side, it was a lot trickier.

Stories always have held conflicts and contrasts, highs and lows, life and death situations. And there can be much suffering in stories, but now we say the artist doesn’t have to suffer to show suffering. You just have to understand the human condition, understand the suffering.

There will always be stories that require a feature-length format, and there will always be stories that will be told in short-form.

[Jorge Luis Borges] had short stories, and I was trying to learn how to write short stories, and then he had these things in the middle that were like fables, and I loved hearing fables.

My stories have a deep spiritual core because I have a deep desire to understand things of the spirit, but yet I don't think I've written these stories from any kind of specific religious agenda because I don't think that would work.

Yes, I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

I think diverse stories are just stories. I don't think 'diverse' is an add-on package. Things that are not diverse are weird because that's not accurate.

It is a labor of love, but there is a lot of labor, especially when you're trying to build a big, epic world with lots of details and a kind of physics of magic that makes some sense and actually has some rules to it.

Flair, Dusty Rhodes, Shawn Michaels, The NWO, The Invasion, the wild stories, and the Attitude Era. All the crazy stories - you love them, and you get addicted to them and the lifestyle. But you have to separate them and toe the line and separate yourself from what is real and what is not.

My works are a direct response to the typical space opera. I grew tired of always reading about how the people with power, with agency, get involved in huge sweeping arcs of stories. I wanted stories that dealt with real people, people I could relate to.

I love seeing my book on shelves and getting letters from people who liked the book. I love telling stories and having other people tell stories to me.

We have been telling and hearing and reading war stories for millennia. Their endurance may lie in their impossibility; they can never be complete, for the tensions and the contradictions within them will never be eliminated or resolved. That challenge is essential to their power and their attraction. War stories matter.

I like stories, and I really like words. So I like stories that rely on dialogue.

I was being brought up on peasant stories; my mother came from Europe and she'd been a peasant and that was the area where the Frankensteins and the Draculas came from and it was entertainment for the people. Nobody had TV, and that was the way peasants would entertain themselves, by telling these stories.

I grew up in Sierra Leone, in a small village where as a boy my imagination was sparked by the oral tradition of storytelling. At a very young age I learned the importance of telling stories - I saw that stories are the most potent way of seeing anything we encounter in our lives, and how we can deal with living.

Cinema really lends itself well to big, archetypal stories, you know, classic old stories and you need kind of a weird, big terrain like the Japanese plains for Samurai movies or the West. You need that for these giants to walk around.

Many stories are invented about me - too many stories; almost everyone uses me, and I'd say about 0.01 percent of the gossip is true.

How many stories do you know about people cooped up in places because of deep snowfall? How many stories where something good happens to those people?

Stories lie deep in our souls. Stories lie so deep at the bottom of our hearts that they can bring people together on the deepest level. When I write a novel, I go into such depths.

I recently read a collection of stories called 'Boondock Kollage,' by Regina Bradley. The stories follow multiple characters through the South, through the past and present. I loved reading that book: the first time I read the opening story, I was breathless and incoherent.

We're all going to keep telling love stories, we're all going to tell hero stories. It's all a question of what your own thumbprint, your own DNA, is, and what it brings to the table that makes it unique.

For most of my life - well, maybe half of my life, but basically until I was in my mid-20s - I wrote stories. From the time I was 5 or 6 until I was 25. And I read a lot of stories during that time.

When I am working on an epic-length book, the writing process is fairly long. It takes from four to five years to get through all the drafts. The book is done when I am exhausted.

The story was the important thing and little changes here and there were really part of the story. There were even stories about the different versions of stories and how they imagined the differing versions came to be.

I've always been ambidextrous, writing short stories and novels, and I pretty much have been writing a novel and a handful of short stories every year since '91.

We know people by their stories: their history, their habits, their secrets, their triumphs and failures. We know them by what they do. We want to know mountains too, but they’ve got no story. So we do the next best thing. We throw ourselves onto them and make the stories happen.

Of course, an English aristocrat might have some contact with the staff downstairs and could adequately say a thing or two about inter-class dramas unfolding in the household. But something less parochial might be harder to come by. This is relevant because stories about the divisiveness of class are by definition stories that straddle class boundaries. A story about a miner in a mining town is not obviously one that speaks to the divisiveness of class. In other words, class doesn't just divide us in the world but it also divides us in the stories we're presented.

From the beginnings of literature, poets and writers have based their narratives on crossing borders, on wandering, on exile, on encounters beyond the familiar. The stranger is an archetype in epic poetry, in novels. The tension between alienation and assimilation has always been a basic theme.

We had a comic book in Denmark called 'Valhalla,' and I read it every time I had the chance. So I remembered the authentic stories from that comic book - Thor and Odin and Freya, I know all those stories.

The richly cadenced prose is hypnotic, the research prodigious, the analysis acute, the mood spellbinding, and the cast of characters mythic in scale. I cannot conceive of a better book about Capitol Hill. An unforgettable, epic achievement in the art of biography.

TV has a longer narrative, and TV's more like short stories. So there's less rules with TV; you can make it a little bit different. [With] movies, the medium has more constraints, so it was just about what stories are the most cinematic and the best resolution.

I would like to use stories as a springboard for children to make their own creative responses. I would like to encourage them to express themselves using music, art, film or whatever, and upload it to a website having been inspired by particular stories.

The world, the human world, is bound together not by protons and electrons, but by stories. Nothing has meaning in itself: all the objects in the world would be shards of bare mute blankness, spinning wildly out of orbit, if we didn't bind them together with stories.

In my house, there is an old Chinese cabinet full of little figurines on two shelves. They are for my daughter, to tell stories. We have told hours and hours or stories using these figures. There are all kinds of people, children and adults, and all kinds of animals - elephants, tigers, snakes.

Because my writing time has always been very limited, I try to be very choosy about which stories I work on. There are many ideas that would make interesting stories - too many - so it's important to be ruthless and say no to most of them.

Climate change is one of those stories that deserves more attention, that we all talk about, but we haven't figured out how to engage the audience in that story in a meaningful way. When we do do those stories, there does tend to be a tremendous amount of lack of interest on the audience's part.

I heard stories from my mother's mother who was an American Indian. She was spiritual, although she did not go to church, but she had the hum. She used to tell me stories of the rivers.

My earliest acting memory is making up a play for my mom and dad called The Lonesome Baby. I have no idea what The Lonesome Baby was about. I just remember the title. But I'm sure it was an epic.

There is not a great Spanish tradition of ghost stories. But in the period of Franco, you'd find these ghost stories: sort of hidden political movies that were supposed to be about ghosts but were about something else.

In the average newspaper there is not a complete suppression of stories that the sacred cows don't want printed. But rather what happens is that the stories get printed with stresses, colorations and emphasis that favor the sacred cows.

The films that I've done before were original stories most of the time, I did two adaptations before this, but they were mostly original stories where I had complete freedom to evolve in the direction I wanted.

I believe all stories are love stories, and there are kinds and kinds of love, so I will always write about love, but not necessarily romance.

You don't hear many stories about people who grow up, have normal lives, pay taxes and pay bills, have mortgages and have kids. You hear stories about Billy the Kid for a reason.

I believe stories are very important to all performances. The life story of the performer shapes their work, and the life stories of the audience alter how they receive the work, what they read into the performer.

The stories we tell each other and the stories we tell about heroism, about magic, about faith - those things say a lot about who we are and the kind of lessons that we wanna convey to our children.

Our culture already has a number of well known stories about artificial life and non-human intelligence. In 'Exegesis,' I've tried to not only tell a new and engaging story but also to comment on those well known stories through the details of my novel.

I never imagined people like Thanos and Warlock would be drawn into films. They're weird characters in weird stories. Luckily, the twisted kids who read those weird stories are now the twisted adults who are making movies.

I can't tell you exactly how I found it. It was just a process of writing a lot of stories and reading a lot of stories that I admired and just working and working until the sentences sounded right and I was satisfied with them.

People inspire me. Everyone is such an individual and has unique stories. I'm a voyeur. I eavesdrop. Sometimes I ask questions. And sometimes people just want to tell me their stories.

Daft Wee Stories' is, as the title says, daft wee stories. I just sort of rattled them out, tried to make them quite funny, with punchlines - they're kind of like sketches.