Top 1200 Everyone Has A Story Quotes & Sayings - Page 6

You always need to make sure that you're looking at every angle and every perspective so that people, when they read the story, know what's happening. You have to write for everyone.

I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story. So I think there's a middle ground that I try to strike... away from where everyone else seems ready to go, which is, setup, payoff. You know, He's afraid of water, oh, and at the end he's swimming in water - oh, my God. I hate that stuff.

My memoir is a story of family and childhood, and everyone has had one of those. Mine is not the definitive version of childhood, but it's a great way to start a conversation.

You used to need a big camera to direct, but now, anyone with an iPhone can tell a story visually. You can film something. You can start off with a five-minute story, then a 10-minute story.

I'm a storyteller. I'm always willing to serve the story, a story I believe in, in whatever way is necessary. If I need to write the story I believe in, I will write it. If I've been offered to act in a story that I truly believe in, I will happily do that, but I'm a storyteller. That's something I'm so thankful for.

Was everyone else really as alive as she was?...If the answer was yes, then the world, the social world, was unbearably complicated, with two billion voices, and everyone's thoughts striving in equal importance and everyone's claim on life as intense, and everyone thinking they were unique, when no one was.

That's kind of the beauty of WWE, is everyone's got their own story, they all have their own path in getting here. It's just a very diverse and unique locker room.

It might be a very human thing across the board, but we, in America, love a story - we need a story to get involved in. But then everything becomes more about how the story protects a certain perception as we pick sides.

A true epilogue is removed from the story in time or space. That's the reason it is called an 'Epilogue'; the label serves to alert the reader that the story itself is over, but we are going to now see a distant result or consequence of that story.

That's what was so amazing about 'Mulan.' Here is this story with all Chinese characters, and yet so many people related to her character and loved the story. So I really think as long as you have a good story that relates to a lot of people, it doesn't matter what ethnicity it is.

If everyone is there to make a good film, everyone is down to earth, and everyone is there for the right reasons - the scale doesn't really matter I think.

The story is everything, so it always begins with a story. Research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.

Everyone in Denmark has at least two or three sailors in their family; sea travel is part of the DNA of our nation, and because of that, I'd always wanted to tell a story aboard a ship.

As a filmmaker, you have to understand the essence of the book and tell the story you want to see on the screen, and hopefully please yourself - because you cant possibly please everyone.

I see all art as a complement to telling people's stories. I'm in the storytelling business. I believe that the humanity that all of us share is the stories of our lives, and everybody has a story. Your story is as important as the next person's story.

Though it may not seem like it, I never try to write about a place, per se; it's always, first and last, about story. Story is everything. Story and a bit of attitude.

'Chhichhore' is not just a story, it is a journey that everyone goes through. The film showcases some of the most beautiful years of one's life, where friends become family and stay with you till you age.

A romance novel is more than just a story in which two people fall in love. It's a very specific form of genre fiction. Not every story with a horse and a ranch in it is a Western; not every story with a murder in it is a mystery; and not every book that includes a love story can be classified as a romance novel.

I'm part of the party, getting the crowd fired up, singing songs, pouring drinks, whatever it takes to get them to have a good time. When I walk into the meet-and-greet, someone's always going to have a story, a sad story or a happy story.

Everyone has a bowling story. I love bowling because you can do it at age 2 - my son started when he learned to walk - or you can bowl at 102. It's great for families.

As a filmmaker, you have to understand the essence of the book and tell the story you want to see on the screen, and hopefully please yourself - because you can't possibly please everyone.

It's difficult for me to have a large story, a very large story - a novel is a large story. I'm used to writing and doing these little miniature paintings.

The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.

And for better or worse, a story like 'Pieces of April' is the kind of story I'm supposed to tell. The kind of story that makes you laugh as much as possible but also breaks your heart.

It's true that writing can give new forms to concepts that existed previously with far less clarity, but in terms of the other half of a story's story - the way a story is received and interpreted and used - the audience plays a part in that too.

Readers re-create any story to suit their own needs. They re-clothe the story in their own shirts. Put simply: just as we write the story we need to write, they read the story they need to read.

My story was that I was egotistical, arrogant, and an absolute jerk to everyone who brags about everything - and I will - but I've been very fortunate to take everything and learn from it.

The process of open adoption is not discussed in the way it should be. Everyone I know who has adopted domestically has at least one tragic story. It was important to me to be able to describe those situations.

You need the actors to feel as much ownership of the performance and the direction of the story as you do to get the most out of everyone's potential. Part of it is just making sure we all have the same vision.

Craig said the problem with things is that everyone is always comparing everyone with everyone

Only the story can continue beyond the war and the warrior. The story outlives the sound of the war drum... The story is our escort. Without it we are blind... It is the thing that sets us apart from cattle.

It's important to give kids a variety of sports. Everyone is an individual, everyone is different but there is a sport out there for everyone.

In Los Angeles you get the sense sometimes that there's a mysterious patrol at night: when the streets are empty and everyone's asleep, they go erasing the past. It's like a bad Ray Bradbury story.

I'm drawn to a good story, really, as I hope most people are. For me, it's the story that's going to stay with you eventually, not necessarily the genre. I go to watch a film because of the story, not because it was a Western or a comedy.

Vera said: 'Why do you feel you have to turn everything into a story?' So I told her why: Because if I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me. Because if I tell the story, it doesn't hurt as much. Because if I tell the story, I can get on with it.

Ask everyone what they remember about 'Baywatch' and they're gonna tell the story of when they were 10, sneaking it while their parents were out. Everybody has something.

Our forward track must focus on including everyone, embracing everyone, and celebrating the beauty - and normalcy - of everyone's differences.

There's a saying I read recently; I painted it on the fireplace and in my studio: "Be kind to everyone you meet, for everyone is fighting a great battle." We all are. Everyone.

Yes, I am the first Latino poet laureate in the United States. But I'm also here for everyone and from everyone. My voice is made by everyone's voices.

Let the story lead you. If the story needs to be dark, let it go dark. If it's a sweet, good-for-the-world story, that's what it is.

I'm sure everyone has a cool story behind how they got into Formula One, but, for me, Perth, you know, not only in Australia is it detached, but it's detached from the whole world.

I never make a distinction between doing a film in Hollywood or doing a film independently. It's just the story. It's always the story for me. The constants are that it should challenge me and I shouldn't repeat myself. And the story should always be a story worth telling.

I was actually deputy headboy at my school. And everyone around me was very supportive of what I wanted to do. There's no romantic story about how me and my brother got to where we are.

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.

Staying relevant is key. When you're telling your story, you better have a modern story to tell. If I was still saying the same story I was saying 10 years ago, it would not be that interesting.

Animation story boarding works differently than live action story boarding. The story crew along with a writer really does shape and create the film - the world and it's characters. We meet almost every day and brainstorm the plot of the film. It's a highly collaborative process - and we continue to improve the story until we literally run out of time.

Whom do I write for? I write for the story. Each story, it seems to me, knows best how it should be told. As I once put my ear to the railroad track, I listen now for the voice of my story.

The biggest threat to your creativity is the fear that it's already been done, said, created. (So why bother?) Say it, do it, make it anyway - but tell YOUR story along the way. The story of how you came to know what you know. The story of what you want to know more of. The story of why you do what you do. The story of how you came to care. And that's how you create what's never been created before.

What's your story? It's all in the telling. Stories are compasses and architecture; we navigate by them, and to be without a story is to be lost in the vastness of world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story. Which means that a place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there.

I'm definitely not your stereotypical actor: the loud, cackling type who strolls into a room and grabs everyone's attention with a great story. I've always been much more of a listener.

Both education and religion need to ground themselves within the story of the universe as we now understand this story through empirical knowledge. Within this functional cosmology, we can overcome our alienation and begin the renewal of life on a sustainable basis. This story is a numinous revelatory story that could evoke the vision and the energy required to bring not only ourselves but the entire planet into a new order of magnificence.

The characters are telling you the story. I'm not telling you the story, they're going to do it. If I do it right, you will get the whole story.

In a story, you can turn to the front and begin again and everyone lives once more. That doesn't work in real life. And I love my real people the most.

For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.

My story is an immigrant story. My story is of people moving from one country thousands of miles away to another and forming new links, new family and new relationships.

I want everyone who's listening to know who I am and not just see me as this singer. I want them to feel connected to my story.

In fiction the story lives the more everyone comes to life, the more each character seems to exist in his or her own right.

When '12 Years a Slave' got that much attention, everyone started to copy that. That story has to be told, but there are a lot more stories to be told than slavery.

I regret that there aren't more short stories in other magazines. But in a certain way, I think the disappearance of the short-story template from everyone's head can be freeing. Partly because there's no mass market for stories, the form is up for grabs. It can be many, many things. So the anthology is very much intended for students, but I think we're all in the position of writing students now. Very few people are going around with a day-to-day engagement with the short story.

Ralph Lauren has always had a story. At first, my father told the story just through his designs. Now we're constantly looking for new ways to tell that story through innovation and technology.