Top 1200 Interesting Stories Quotes & Sayings - Page 19

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 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.

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.

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.

It occurred to me that nothing is more interesting than opinion when opinion is interesting, so I devised a method of cleaning off the page opposite the editorial, which became the most important in America and thereon I decided to print opinions, ignoring facts.

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.

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.

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.

For film and television, it's interesting how fans feel that their particular ways of manifesting their affections are the correct ones. It's not just about being a fan, it's about how you perform your fandom. That's always been interesting to me.

I think Bill de Blasio is doing interesting housing stuff in New York, Rahm Emanuel is doing interesting stuff with the infrastructure bank in Chicago. I want to go to America to meet with and engage with American mayors.

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.

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.

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.

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.

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.

YouTube's a funny place because so many creators fall into their aesthetics out of necessity and the visuals are driven out of an urge to create. You get a lot of interesting examples of interesting design choices that have roots in practicality as well as an artistic sentiment.

I am reminded of the old court jester who was supposed to entertain his king with interesting stories and antics. He looked at the king who was lolling on his throne, a drunken, filthy rascal, doffed his cap and bells, and said with a mock gesture of obeisance, “O king, be loyal to the royal within you.” And so I say to you young people today, remember your heritage, and be loyal to that royal lineage that you have as members of the church and kingdom of God on the earth.

But at the same time, never having final cut before, I really learned an interesting thing for any studio executive who is reading this: that if a director has final cut, it's actually easier and more interesting to listen to notes.

How many stories have you read that aren't true, stories about me and Angie being married or fighting or splitting up? And when we don't split up, there's a whole new round that we've made up and we're back together again!

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 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.

Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life.

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.

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.

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 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.

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.

I've always run by the hierarchy of "If not funny, interesting. If not interesting, hot. If not hot, bizarre. If not bizarre, break something."

Reportage is interesting only when placed in a fictional context, but fiction is interesting only if it is validated by a documentary context.

I listen to new music by composers who are interesting to me. I listen to some; I don't know if I want to call it pop, but it's some interesting artist that gets my attention, I listen to in the mornings.

You don't write on tour; it takes all your concentrating to make the gig - that's survival technique. Afterwards, you run around town to find interesting hipsters and go to all the interesting spots. You got to go to every hotspot until everything has closed down.

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 do not think that a museum needs to engage with pop culture in order to make itself interesting to museumgoers. Museums are already interesting and engaging with pop culture for its own sake is just a quick way to seem and become dated.

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 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 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.

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.

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'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.'

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.

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.

They say the bad guys are more interesting to play but there is more to it than that - playing the good guys is more challenging because it's harder to make them interesting.

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

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.

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.

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.

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 relate to that idea of not necessarily seeking out 'interesting female roles,' but 'this character, this role, who happens to be a woman, is interesting to me, and I relate to it in some way, so I'm just gonna go with my gut and see where it leads me.'

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.

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.

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.

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.

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.

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.

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.

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.

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.

I do think that there is something about an intelligent, strong woman who also needs to be taken care of that will attract a certain kind of man sometimes. And that relationship is interesting on screen. Bad relationships are more interesting than good relationships to watch.

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.