Top 1200 Fictional Stories Quotes & Sayings - Page 16

Religion is a huge part of our consciousness. I grew up in the Bible Belt, so it's our mythology. Those are the stories we learn as little kids at Sunday school. I'm not afraid to use the metaphors, because I think the stories are beautiful.

I'm not going to be labeled a black filmmaker. I am not here to just tell black stories. I'm here to tell all kinds of stories, musicals and dramas.

I don't like the word 'abstractions' very much because most people don't think in abstractions. That is too difficult for them. They think in stories. And the best stories are not abstract; they are concrete.

Nothing connects with people like humanity. That doesn't mean you have to tell slice-of-life stories all the time. But you know, with so many options in technology, the consumer's not really that interested in advertising... They are interested in great stories. That transcends any medium.

What I'm trying to do is tell good stories through music. I think some of the best songs, the best country songs, are stories.

Any time you read the snide comments or people who have a hard time separating fictional television from reality, that's sort of just water under the bridge. It's easy to let that pass by if everyone in person is nice and warm.

My very first lessons in the art of telling stories took place in the kitchen . . . my mother and three or four of her friends. . . told stories. . .with effortless art and technique. They were natural-born storytellers in the oral tradition.

There's a hunger for stories in all of us, adults too. We need stories so much that we're even willing to read bad books to get them, if the good books won't supply them.

The Voice did not consider itself a conventional magazine. It took me awhile to realize that it was named The Voice for a reason. They wanted voices. At the time, good magazine stories were still believed to be written in the third person based on the false belief they were more objective. Of course some conventional stories require third person, but in the really interesting stories - the ones I got do to at The Voice and Esquire - were about subjectivity, subjectivities.

How can we be alive and not wonder about the stories we knit together this place we call the world? Without stories our universe is merely rocks and clouds and lava and blackness. It's a village scraped raw by warm waters leaving not a trace of what existed before.

Seriously, a thirty-something woman shouldn't be daydreaming about a fictional character in a two-hundred-year-old world to the point where it interfered with her very real and much more important life and relationships. Of course she shouldn't.

I grew up in a family where the love of stories is very strong. And there's also a love of performance. I think one reason stories were so important in my family was that we moved around a lot.

I tell people to write the stories that you're afraid to talk about, the stories you wish you'd forget, because those have the most power. Those are the ones that have the most strength when you give them as a testimony.

We should have stories in common, I found myself thinking. We should have stories, and jokes no one understands, and memories that we know will stay alive because neither of us will let the other forget.

Very early on, I was writing stories, and I was amazed at Spielberg's movies when I was young. Coming from the countryside, I was so impressed with the way he was able to tell stories and the way he was able to deal with le merveilleux - the wonders.

There's a social and human necessity for some kind of continuity, but it's not axiomatic and not something you're born into; it's something you have to work at. And one of the ways to work at it - perhaps the best - is storytelling: telling stories about yourself to others, telling stories about yourself to yourself, telling stories about others to others.

Even though I was super personal with 'American Teen,' I want to tap in and not just tell my own stories but tell the stories of other people - so that I can help as many people as possible.

There was Uncle Ken of mine about whom I wrote a lot of stories. I can always write stories about uncles and aunts and distant relatives. They have to be distant, though; otherwise, you'll be in trouble.

It's psychologically a weird experience to be so aware of the fact that the real time of your life is moving much faster than the fictional time you're trying to depict. You start to feel very weighted down sometimes.

I like the idea of not having a definition of love and romance. The greatest love stories have been about people who haven't come together. More stories like that need to be explored.

I used to tell my three younger siblings stories because that was my household chore, and I told long stories in installments because it was easier and more fun than making up a new story every night. I loved it.

One thing I think is least realistic is that there were five people that made decisions in the fictional 'West Wing.' In real life, there are about five million people that weigh in.

Because they're my stories, they're my version of events of the past three years. But I really hope people can hear their own stories within the songs and they can become our version of events.

I'm attracted to stories that excite my imagination, stories that, as I'm reading the script, I feel it, I can see it, I can hear the characters. I'm attracted to characters that are real, that tap into something inside me that I haven't explored yet.

I would love to keep playing roles where I get to inspire young women, and I get to uplift them and tell their stories and tell important stories that haven't been told.

As a child I always steered clear of science fiction, but in the autumn of 1977 the bow-wave of publicity for the first Star Wars movie had already reached me, so I was eager for anything science-fictional.

I look for us - people of color in Hollywood, to create more stories as writers, directors and filmmakers, creating more opportunities for ethnic actors. At the end of the day, we have to be the ones giving jobs and telling the stories, not just waiting to be hired.

I started writing the book without realizing I was writing a book. That sounds stupid, but it's true. I'd been trying and failing to make a different manuscript work, and I thought I was just taking a break by writing some short stories. I'm not a very good short story writer - the amazing compression that is required for short stories doesn't come easily to me. But anyway, I thought I'd try to write some short stories. And a structure took shape - I stumbled upon it.

My life has been wild enough to derive all of the stories you need out of it. I've been through many, many years of behavioral problems, so I don't really look outside for stories.

I'm really into the idea of telling stories. Everyone needs stories. Everyone needs to escape every once in a while.

All the stories of the Bible that I know came to me first from my grandfather's lips... He would see stories in everything. He told stories very easily and very generously, so I loved him for that. He was a simple man, a Victorian; he was born in 1890-something. He saw no reason and had never seen any reason to question his Christian faith. His faith was strong and simple and that's it. And I, like his other grandchildren and the children in his parish, sheltered underneath it.

The earliest memories I have of the ocean are actually stories - stories from my grandfather, the legendary ocean explorer and conservationist Jacques Cousteau. My passion for ocean conservation stems from learning at a very young age that we're all connected; we're all in this together.

I always wrote. I've written stories since I was 9. We didn't have a computer at home, but my aunt Magda had one. Whenever I'd go to her place, I was in the basement working on her computer, writing stories.

The stories that are most unfamiliar, the ones that seem to come out of the blue about people that aren't well known, usually come from producers that have really done a lot of homework and looked around. Other stories come from the correspondents.

I like the way the stories of my relationships sound to music more than the way they look in print, in gossip columns or in me talking about them in interviews. I think it's a better way of telling the stories.

I've thought a lot about the power of empathy. In my work, it's the current that connects me and my actual pulse to a fictional character in a made up story, it allows me to feel, pretend feelings and sorrows and imagined pain.

When I look back at my life and think about what really happened, my memory is obscured by the stories I've created out of those incidents. In stories, as reality melds with art, the result sometimes feels truer than real life.

I tried to write about my first marriage in a fictional version but got two pages into it and realised it was too personal. Then I came up with an old-fashioned love triangle, which became the plot for 'Ralph's Party.'

I kind of have an interest in all history. And I suspect it comes from being Irish - we like stories, we like telling stories, which makes a lot of us lean towards being writers or actors or directors.

Many of the most science-fictional tools to fight climate change are untested, are almost impossible to truly test at planetary scale - we only have one planet after all. We're better off cutting our emissions so we don't need them.

My sentences got sharper and my stories more efficient, and I gradually learned to imagine the reader more clearly and to empathize with that imagined reader, which is a crucial part of learning to tell stories.

I happen to write a lot of stories that make Kissinger look bad. I'd rather that the stories weren't true, but they all happen to be true.

My life also prepared me to play T-Dog. That was what my entire life was about - surviving. To be on the set of 'The Walking Dead,' it was like being back home. I had to survive again, though in the fictional world.

To this day, I have people I might meet who will make assumptions about my life based on fictional elements of 'The Squid And The Whale.' But I think that's par for the course if you make something that feels kind of real.

I look at the stories that Spike Lee tells... Great stories. Great director, great storyteller.

Digital-Original just shifts the R&D costs for publishing to the authors and affords us the chance to write the stories we want to write and the stories our patrons want to read.

When you're portraying someone, whether they're real or fictional, you have to find some kind of hook where it feels real to you because if you don't believe it yourself, then no one else is going to believe it.

When I was in Boy Scouts, back in the day, we'd tell stories around the campfire. That's why I love movies. It's literally you and your friends, telling stories around a campfire, whatever they may be.

I asked my mum, who's a very clever psychotherapist, and she says that kids love stories about death; they need it, they need to have stories that deal with death and explain it, as a place to put their fears.

Because technically actors are just public servants really. They just tell stories because people need to be told stories. That's all it is. And yet we get treated as though we're important.

Stories twist and turn and grow and meet and give birth to other stories. Here and there, one story touches another, and a familiar character, sometimes the hero, walks over the bridge from one story into another.

Stories never really end...even if the books like to pretend they do. Stories always go on. They don't end on the last page, any more than they begin on the first page.

The rise of anime had to happen. If the Japanese could tell better American stories, it would go through the roof. They still tell stories which are very much oriental. I take my hat off to them.

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.

I think that's the real reason, sometimes, that people talk about my stories as being scary, because if you compare what goes on in my stories to what goes on in popular movies and popular songs, it's very mild.

Between the fictional Laura of the books and the even more heavily fictionalized girl of the TV show, we've tended to lose sight of the fact that Laura Ingalls Wilder was a real person who was complicated and intense.

I feel that our stories are cross culturally irrelevant, and I'm a member if a larger community of people who have no boundaries in terms of color or in terms of how I look at other people and their stories.

I'm not great at bedtime stories. Bedtime stories are supposed to put the kid to sleep. My kid gets riled up and then my wife has to come in and go, 'All right! Get out of the room.'

Long before I wrote stories, I listened for stories. Listening for them is something more acute than listening to them.

I don't abandon stories once I've started working on them. Once I sit down and start a story, I'll be damned if I'm going to give up on it. But I do reject most of the ideas for stories that I come up with.