Top 1200 Interesting Stories Quotes & Sayings - Page 20

Maybe instead of strings it's stories things are made of, an infinite number of tiny vibrating stories; once upon a time they all were part of one big giant superstory, except it got broken up into a jillion different pieces, that's why no story on its own makes any sense, and so what you have to do in a life is try and weave it back together, my story into your story, our stories into all the other people's we know, until you've got something that to God or whoever might look like a letter, or even a whole word.

I came to graduate school with a certain vocabulary about how to talk about other people's stories, but I couldn't understand how to look at my own stories in that way. And that was what made editing such a challenge for me.

I don't have them down here asking me what my urban agenda is. I don't find them really doing in-depth stories on community-based organizations that have been struggling for a long time and who are out trying to get funds. They aren't interested in those stories.

No, nothing much has changed in me as an actor. Since the day I started out, I always wanted to be part of good stories. The only thing that has changed is now I have options of good stories to choose from.

I tend to only be able to obsess about one thing at once, and become fully engaged in and only interested in that thing. But in the longer term, a lot of my stories also give birth to other stories.

The last element in drama is high stakes. War, of course, is life and death - survival, not only for the story's characters, but often for the society itself. That's why I'm drawn to stories that are built around wars, even if they're not technically "war stories."

"Stories don't always have happy endings." This stopped him. Because they didn't, did they? That's one thing the monster had definitely taught him. Stories were wild, wild animals and went off in directions you couldn't expect.

My father used to tell me stories before I fell asleep. When the children would gather, at a certain point, I had a tendency to make up my own elementary variations on stories I had heard, or to invent totally new ones.

Sometimes people get fairly obscure just for the creative license of it, and that can backfire. Iconic stories are iconic for a reason, and there are so many incredible, iconic history stories that have not been told that we don't need to go too deep in the well yet.

The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.

I don't mind making a fool of myself. I felt like people would be accepting of that because, to me, that seems like an interesting way to do a show. I've always thought that it's interesting to watch people work things out on stage.

As an activist, you do find yourself directed more toward public action. But I've always tried to use stories from my own life in my writing. It has always been clear to me that the stories of each other's lives are our best textbooks.

The most interesting conversation is not about why Donald Trump lies. Many public figures lie, and he's only a severe example of a common type. The interesting conversation concerns how we come to accept those lies.

When I hear other people's stories, I like to believe that they contribute to my 'Encyclopedia of Human Experience.' The stories I hear help me expand my definition of what love is, what pain feels like, what sacrifice means, what laughter can do.

I think the relationship between mother and daughter is so interesting, even in a semi-normal family. Emily Thorne/Amanda Clarke's family relationship is going to be so interesting to explore. It is going to give me so many places to go. Obviously, it has been said that she is not the most stable of characters. What is interesting about that, when you think about mental health, is that young women will often come into those problems and difficulties in their 20's, so it is very possible that this will start to affect her psyche.

I wanted to write a story that was different than what I've done before - so I decided to write dual love stories that will keep the reader wondering how the stories will come together by the end.

When I decided to make my version of Poe's stories, I wanted to respect the original material or to at least get closer to what his stories are really about. Most other adaptations I've seen sort of follow the story but they never satisfy me as an audience member or as a reader.

My mother was a children's librarian. I remember when traditional stories were revised for modern audiences until they bore only a nodding acquaintance with the originals, but were released as 'authentic Indian stories' when they were, in fact, nothing of the kind.

Writing is writing, and stories are stories. Perhaps the only true genres are fiction and non-fiction. And even there, who can be sure?

I don't look for good-news stories or bad-news stories.

I actually pushed the boundaries on how long a book like this [The Thorn and the Blossom] can be. The original plan called for two 7,500 word stories, and I turned in two 10,000 word stories.

The interesting thing about Hain is that he's not a very interesting character. He's not fabulously clever. He's not a great policeman. He's not hugely charismatic. I'd describe him as a kind-of Chekhovian character. He's an ordinary bloke, to whom extraordinary things have happened. Which is quite hard to play, I have to say.

It took me a long time to know enough about writing to really write short stories. You can't just immerse yourself, as you do in a novel, and see where everything goes. Novels are a very flexible, accommodating form. Short stories aren't.

I continued for too long to do things that I already knew how to do, or to write stories that I was assigned instead of fighting for stories that I couldn't get, or doing ones that I thought were important on my own. The wasting of time is the thing I worry about the most. Because time is all there is.

As a child in Sydney, my German Mum and my Austrian Dad would spontaneously tell me stories about what they saw and what they did as children. It was like a piece of Europe coming into our house... Those stories led me to my writing.

The most important thing is to live an interesting life. Keep your eyes, ears and heart open. Talk to people and visit interesting places, and don't forget to ask questions. To be a writer you need to drink in the world around you so it's always there in your head.

For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.

I don't have a philosophy for choosing roles. Sometimes, it's just, 'This might be interesting; that might be fun to do.' There might be interesting actors or directors in the project, even if the part is not important. And then sometimes, you need the money.

Stories last longer: but only by becoming only stories.

No song or poem will bear my mother's name. Yet so many of the stories that I write, that we all write, are my mother's stories.

Its important to know stories. I felt the earth shift to make a place for you when you were born, and I came to tell you stories while you are young. And like me, you were born with a word on your tongue.

So, short stories have an even harder time, because they tend to get read during the day, between other things. They're interstitial. And yet the content of short stories tends to be very much "nighttime" content.

Kevin Hart. He's the man! I like his style. He's short, so I can relate. All the stories he tells are real. I respect that, and he's just a really funny dude - great comedy instincts. To do stand-up on a stage for an hour and tell stories and make people laugh is incredible.

I get very emotional about time periods I never lived in, but I have a weird connection to them. The mystery of it becomes about hearing the stories of those eras, and creating nostalgia from those stories.

I find that you're drawn to certain stories, and there's something about fairytales that have deep roots. They connect really deeply to you, and those are the stories that I find myself drawn to. I love characters that believe the impossible is possible.

We, as producers, want to tell the best stories. We want to tell the stories that people will talk about.

Everything starts with what's on the page, what a writer has come up with. And whether it is a big studio film or independent film, is the story being well told? Is it interesting? Is the character interesting? And is there something about the character that may stretch me?

Writing a story I am just trying to find some little interesting thing to start out with: something small, even trivial. Preferably something that doesn't have a lot of thematic or political baggage - a little crumb that is interesting.

I have considered the directing, actually. Not so much the writing. That is not really interesting, but the directing is really interesting to me.

I have very little interest in endlessly telling people about my artistic process. It sounds like throwing yourself against a wall and crying. It's not interesting to most people. It's interesting to yourself. But it's your problem, not anyone else's.

Writing was my companion and stories were my companion when I was bedridden and didn't think I was going to walk again and all of that treacherous stuff. And stories are how you can comfort a child. It's certainly how I comforted my daughter, in good and bad times.

Good stories must travel through conflict. And in epic stories, the conflict must become unbearable.

Now I'm sixty-one... sixty-two, pretty soon. It's a really interesting age. Now we have women of your age, and coming up, and all these fantastic writers, who have managed to have their children but continue with their art, their work. I think women are doing the most interesting writing right now, the most interesting art. I see everything through this lens, of women finally taking their place in the world. Their true place. And it's very, very exciting to me.

I am always looking for stories that will shed light on how companies define themselves - for better or for worse. When shared with others, such stories can have an enormous impact on how well we move forward in the changing world around us.

I dish the dirt out, and I can take it. But why should my mother and children have to take it? In 20 years, I have taken any number of stories, most of which are not true, without a murmur of complaint. But some stories you have to draw the line and say No.

I began to encounter real-life stories of dogs protecting their wounded or dying or dead handler... or dogs refusing to leave the bodies of the people they were bonded to, sitting in cemeteries for days or sometimes weeks. You find these stories endlessly.

And it's a human need to be told stories. The more we're governed by idiots and have no control over our destinies, the more we need to tell stories to each other about who we are, why we are, where we come from, and what might be possible.

Here is something you have to understand about stories: They point you in the right direction but they can't take you all the way there. Stories are crescent moons; they glimmer in the night sky, but they are most exquisite in their incomplete state. Because people crave the beauty of not-knowing, the excitement of suggestion, and the sweet tragedy of mystery.

I love storytelling. I love stories, and I love the way in which we connect through stories.

There's no such thing as complete when it comes to stories. Stories are infinite. They are as infinite as worlds.

I was drawn to all the wrong things: I liked to drink, I was lazy, I didn't have a god, politics, ideas, ideals. I was settled into nothingness; a kind of non-being, and I accepted it. I didn't make for an interesting person. I didn't want to be interesting, it was too hard. What I really wanted was only a soft, hazy space to live in, and to be left alone.

I have no problems with remakes, and I think it's interesting. I mean, coming from the theater, we've been remaking 'Hamlet' for a hundred years, so it's no problem to me at all. A good story can be told in many different ways in different places; I just think it's interesting.

I want to be able to bring out stories like 'Verna,' as well as stories which are of the modern and new generation like 'Ho Mann Jahaan,' which is a film I did of the youth of Pakistan.

Stories helped me unite parts of my existence that might otherwise have seemed irrevocably split by geography and time. And stories helped me find a future in which I, such a mongrel, could be comfortable.

Sanitising stories, leaching out all of the sense of danger and the darkness out of the stories, actually reduces them and stops them from doing what they're supposed to do, which is teach us how to manage our lives.

I love working with male actors, and I think there's a tendency to write really interesting characters that would work solely alongside men where they would be in a man's world and have to deal with that, and it creates a lot of interesting storylines. For me, it's kind of circumstantial, but I definitely enjoy it.

I tend to like strong female characters. It just interests me dramatically. A strong male character isn't interesting because it has been done and it's so cliched. A weak male character is interesting: somebody else hasn't done it a hundred times. A strong female character is still interesting to me because it hasn't been done all that much, finding the balance of femininity and strength. [From a 1986 Fangoria interview]

History is not the past. It is the stories we tell about the past. How we tell these stories - triumphantly or self-critically, metaphysically or dialectally - has a lot to do with whether we cut short or advance our evolution as human beings.

I don't design stories to fit some political ideology. I design stories about characters who I love and care about, while trying to make sense of an increasingly mad and toxic and insane world.

Some men are more interesting than their books but my book is more interesting than its man.