Top 1200 Everyone Has A Story Quotes & Sayings - Page 18

I never start a section of the story without knowing how it will end. I also consciously try to shape the story as though it were a movie.

Cars are all jammed up all along the road and a light turns red and someone honks. In every one of those cars there is a story or a hundred stories. For every light on in al of those huge city buildings there is a story. No one knows what I am about to face and no one knows my story and neither do I right then.

If you're going to have a story, have a big story, or none at all.

I feel very strongly that a film isn't just a story, but the WAY that a story is told. It's why I am such a great fan of Hitchcock because it really is all in the filmmaking.

Those who meet Jesus always experience either joy or its opposites, either foretastes of Heaven or foretastes of Hell. Not everyone who meets Jesus is pleased, and not everyone is happy, but everyone is shocked.

Tell the story as if it were only of interest to the small circle of your characters, of which you may be one. There is no other way to put life into the story.

If I can get a story about a player, I would give you a ship load of numbers, batting averages and all just for that one precious story. That's the kind of thing that I love to do.

You have to tell a story before you can sell a story.

To say a thing simply: I am my history, but the story of my life is always guarded, self-conscious. It is finally the only story we give to someone we love.

I'm a reader and a storyteller, and God chose literature and story and poetry as the languages of my spiritual text. To me, the Bible is a manifesto, a guide, a love letter, a story.

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.

Separate the story - your story - from facts.

If you can see a world within a portrait I would be happy with that. I don't want to tell the story with a painting, though. I'm trying to get away from the story- from the beginning and the ending.

I know everyone has a different taste as far as personal technology - like, smartphones are maybe the most personal decision you can make - so I don't know if I can recommend one thing for everyone. But, I do like the idea of everyone moving, eventually, to an electric car.

I guess you can stay sort of true to the story; you don't have to artificially bring the character back from whatever doom you've designed for them, you can tell the story, I suppose, honestly.

When I looked into the story of Soviet hockey and its players, I realized that it has nothing to do with hockey. It was a larger story using hockey as a window into the story of the rise and fall of the Soviet Union, the Russian people, with friendships and betrayals, paranoia and oppression, and the meaning of sports to people and nations around the world, and how sports was used as a political tool.

The Christian Armenian story was the Polish Jewish story. The efforts of the Armenians to stay alive in Musa Dagh chimed with those struggling to survive the ghetto.

Every step is basically a word, especially with musical theatre, because you're not doing it for dance's sake, you're promoting a story - and, more than that, a moral. You're propelling a story.

I mean look, everyone wants to do the story on the rising star, and when the star is up, they all want to be the one to bring it down because that's what people care about, right? They only care about the rise and the fall, so it's extreme positivity and extreme negativity.

We all want explanations for why we behave as we do and for the ways the world around us functions. Even when our feeble explanations have little to do with reality. We’re storytelling creatures by nature, and we tell ourselves story after story until we come up with an explanation that we like and that sounds reasonable enough to believe. And when the story portrays us in a more glowing and positive light, so much the better.

I try to do the story the way I feel the story should be done, and how that folds into whatever larger sorts of categories or questions is really none of my business.

There are so many stories that need to be told and are not being told. We tend to want to put things in boxes: "This is a memoir about a Muslim," or "This is a memoir about a woman or a normal personal." There's a certain story that assumes to be universal. Everyone else is ethnic fiction. Anyone can aspire to universality.

There's only one story, the story of your life.

Every love story is a ghost story.

There are a lot of parallels to the 'Sparkle' story and my story.

A story communicates fear, hope, and anxiety, and because we can feel it, we get the moral not just as a concept, but as a teaching of our hearts. That’s the power of story.

When you tell a story in the kitchen to a friend, it's full of mistakes and repetitions. It's good to avoid that in literature, but still, a story should feel like a conversation. It's not a lecture.

I can't even tell you what else I imagined. I can only humiliate myself to such a degree; at a certain point it becomes humorous, and this story is not meant to be humorous. This story is meant to winch your ribs open and tamper with your heart. This story is meant to make you realize that your chances of happiness in this world are terribly slim if you lack a fine imagination.

Life is very fleeting. It’s important to be gentle and optimistic. We look behind and think what we’ve done in this life has been good. It was simple; it was modest. Everyone creates their own story and moves on. That’s it. I don’t feel particularly important. What we create is not important. We’re very insignificant.

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!

Everyone, everywhere, and all the time, used to laugh at me when I was growing up. So, when I was around 18, I thought, 'I'll become a comedian, and then if everyone laughs at me, I'll be famous.' So I went on stage one night and, for the first time in my life, everyone stopped laughing at me.

To recover the fatherhood idea, we must fashion a new cultural story of fatherhood. The moral of today's story is that fatherhoodis superfluous. The moral of the new story must be that fatherhood is essential.

As a media member, my goal is to inform the American fans of persons of character. It's a joy for me, either writing a good story or telling a story on video.

The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.

For everyone here in Ohio and across America who's been ever been counted out but refused to be knocked out, for everyone who has stumbled but stood right back up, and for everyone who works hard and never gives up -- this one is for you.

I just want to share with everyone that no matter what challenges, adversities you face in life, that you can overcome them... and once you overcome those adversities, use your story, your testimony to others, to help others get through their storm.

I have always found it curious that Americans consider Roots' an American story. I first watched it growing up in Zimbabwe, and I naturally saw it as an African story.

Sometimes, I'll read a news story and there will be one line about something else, and I'll find it interesting and look into it. That can often turn into an entire story on its own.

I do feel like the media is one of the biggest problems. If you look at all these rolling news channels, they sensationalize the story, they focus on gossip, and they don't actually tell the full story.

A new writer starting out today, whether it's for TV or film, they have to remember that they're telling the story to themselves first of all, and they have to tell the story so that their life depends upon it.

New York is kind of like L.A. If I walk around, not everyone is going to notice me because not everyone watches football, especially in New York. But I feel like everyone in Jersey is a Jets fan, and I always get recognized here.

Since each story presents its own technical problems, obviously one can't generalize about them on a two-times-two-equals-four basis. Finding the right form for your story is simply to realize the most natural way of telling the story. The test of whether or not a writer has defined the natural shape of his story is just this: After reading it, can you imagine it differently, or does it silence your imagination and seem to you absolute and final? As an orange is final. As an orange is something nature has made just right.

It's the Met Gala - everyone is huge. It feels very hierarchical, and I get really nervous in hierarchical spaces because I feel like everyone deserves to feel just as special as everyone else, but that's just not the way it is in this business.

I wouldn't have thought that the techniques of story-telling, which is what the novel is after all, can vary much because there are two things involved.There's a story and there's a listener, whose attention you have to keep. Now the only way in which you can keep a reader's attention to a story is in his wanting to know what is going to happen next. This puts a fairly close restriction on the method you must use.

Wanting to know absolutely what a story is about, and to be able to say it in a few sentences, is dangerous: it can lead us to wanting to possess a story as we possess a cup... A story can always break into pieces while it sits inside a book on a shelf; and, decades after we have read it even twenty times, it can open us up, by cut or caress, to a new truth.

'Puffball' is a love story... no, it's a life story.

From its inception by Michael Bennett, 'Dreamgirls' has always been an epic story with an ensemble cast. I didn't change that. The screen version remains, really, a group story.

There was no short answer to this; like so much else, it was a long story. But what really makes any story real is knowing someone will hear it. And understand.

An adventure game is nothing more than a good story set with engaging puzzles that fit seamlessly in with the story and the characters, and looks and sounds beautiful.

By now, everyone I know is one of seven strangers, inevitably hoping to represent a predefined demographic and always failing horribly. The Read World is the real world is The Real World is the read world. It’s the same true story, even when it isn’t.

But I can say what interests me about documentary is the fact that you don't know how the story ends at the onset - that you are investigating, with a camera, and the story emerges as you go along.

The great thing about a song is that no one has to know your story. But if you tell it in a way that has clarity and means something to somebody else, then it can apply to their story.

In fact, some reviewers have said that as they got into the story they forgot that the protagonist is a black woman. They were moved by the story - by the people as a whole - and not by the little things.

Philip Galanes makes his debut with a novel that is both heartbreaking and deftly comic, the story of a young man struggling with his most primitive desires--wanting and needing. It is a novel about the complex relationships between parents and children, a story of loss and of our unrelenting need for acknowledgment, to be seen as who we are. And in the end it is simply a love story for our time.

I think everyone should sell other people's stuff and their own stuff. I think everyone, almost everyone should mix those two business models.

To me any given story has its appropriate form. There might be some story I get involved with that's begging to be a graphic novel, so that will have to be that way.

My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.

Everyone has failed, everyone has misspoken, everyone has meant well but done the wrong thing. Your favorite restaurants, cafes and books have all gotten a one-star review along the way. No brand is perfect, no individual can pretend to be either. Perfect can't possibly be the goal, we're left with generous, important and human instead.

When you change your NOW story, you instantly change your past story and your future story.

People are over 20 times more likely to remember a story than a series of facts and figures. A good story touches our hearts.