Top 1200 Life Story Quotes & Sayings - Page 19

Every love story is a ghost story.

I go out and look for a good story to tell and if I like it enough and I decide to direct it, I become dangerously involved in becoming a part of that story.

Any carefully planned thing destroys the creativity. You can't think your way through a story; you have to live it. So, you don't build a story; you allow it to explode.

A story does that: it will reach out and hook somebody and hold them for just a few moments while you unpack this story in their presence.

I said to my team, 'I'm doing 'Gilmore Girls' no matter what. There's no way I'll miss it,' because I owed it to the story. The story is bigger than the sum of its parts.

I don't know what makes a good feature story. I've always assumed that if it was a story that interested or amused me, that it would have the same impact on other people.

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.

What should be driving the conversation is: What's the story? What's the movie about? Is it a compelling story? And if it is, then you make it regardless of the color of the people behind or in front of the camera.

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

Everyone's the hero in their own story. You've lived your life. You're the good guy of your life, the protagonist of your own movie. Everyone knows that they have more in them to offer than they sometimes show.

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

The story of John Nash is an amazing, powerful journey. But as unique as this man is, his story is also very accessible because it is so heartbreakingly human.

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.

Characterization requires a constant back-and-forth between the exterior events of the story and the inner life of the character.

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.

I hardly ever think about audience. I just try to tell a story for me. I write the kind of story I would like to read.

You see, Mademoiselle, I have experience, I know the world. To pass the time, why don't you ask every passenger to tell you his life's story? And if there is a single one among them who has never cursed his life, who has not often told himself that he was the unhappiest of men, then you may throw me overboard, headfirst!

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.

A person’s life story is equal to what they have plus what they want most in the world, minus what they’re actually willing to sacrifice for it.

I think that the audience is smart enough to know that just because a drama is relating to real-world parallels, it doesn't mean that its story is exactly that story.

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.

Your life is meant to be an epic story. How you think, perform and live today is part of that script.

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.

The fact that somebody's telling you a story about people who didn't exist doesn't make the experience of the story any less real in your heart and mind.

When you close the book, does the story end? No! That's such a bland way to read. Every story goes on forever in our imaginations, and its characters live on.

This is the story of the curse and the kiss, the demon and the girl. It's a love story with dancing and death in it, and singing and souls and shadows reeled out on kite strings.

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.

Some photographs are like a Chekhov short story or a Maupassant story. They're quick things and there's a whole world in them. But one is unconscious of it while shooting.

When well told, a story captured the subtle movement of change. If a novel was a map of a country, a story was the bright silver pin that marked the crossroads.

The Spice Girl Victoria Beckham has just published the story of her life. I confess that it is not in my reading table.

I'll picture Rat Kiley face, his grief, and I'll think, You dumb cooze. Because she wasn't listening. It wasn't a war story. It was a love story.

Every movie requires its own style. Just be honest to the story. Tell the story in the best possible way that is different, exciting and original.

My mother, whom I love dearly, has continually revised my life story within the context of a complicated family history that includes more than the usual share of divorce, step-children, dysfunction, and obfuscation. I've spent most of my adult life attempting to deconstruct that history and separate fact from fiction.

'180' is a romantic film, but I don't think it can be classified as a fluffy love story. It is a wonderful story with a script that is layered and more complex than the normal ones.

'The Virginian' has a very important romantic story line that you don't find in a lot of Westerns... At the heart of the story is quite a bit of pain and a sense of loss.

Without devotion any life becomes a stranger's story...told for the body to forget what it once loved.

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

Separate the story - your story - from facts.

As you get older, you realize you're only the protagonist in your own story and a blip in someone else's life.

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

I can't help but tell people of the greatest story ever told - God's love and our eternal life.

My life! That's a long story, too. I was born in Brooklyn, New York, like half of the world, I think.

I see myself as anybody, as everybody; I'm not just telling the story of my life to give the reader a picture of who I am.

So who is Jesus? For me, he's the central character in the greatest story ever told. It's a story about a gradually realizing kingdom that lies inside of us.

Olive Kitteridge' is a masterpiece: The writing is so perfect you don't even notice it; the story is so vivid it's less like reading a story than experiencing it firsthand.

Other than a short article I read in 2008 when the real story broke, I have not followed the Clark Rockefeller case, and 'Schroder' is not a novelization of that story.

My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way.

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.

Bones tell me the story of a person's life - how old they were, what their gender was, their ancestral background.

I have picked 'mainstream' films only because there is a story, and there are lovely people attached to it. That's a conscious decision always for me. What's the point if there is no story to tell?

I feel as though I am shelved. That I have been given the words to the story of my life, but that I have remained largely unread.

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.

When I wrote 'The Da Vinci Code,' I told myself that this story of Jesus makes more sense to me than the story I read in the Bible.

'The Black Prism' is a story of emperors and prisoners and magic set in a Mediterranean, 1600-esque world. It's a fantasy story; it's fast and fun and inventive.

I began writing fiction because it was the only way to tell all the intricacies of a real-life spy story.

If it is a fantasy fiction, and you want to portray a story of a vampire, you have to keep the essence of the story same. But if you have to have five episodes a week, where do we get so much content from?

When we believe in our thoughts, when we tell ourselves a story, we suffer. 'My husband doesn't respect me.' 'I should be thinner.' Those are stories. When there's no story, there's no suffering.

In the earliest days of Pixar, when we were making 'Toy Story' and 'A Bug's Life,' we all came together as a group.

'Olive Kitteridge' is a masterpiece: The writing is so perfect you don't even notice it; the story is so vivid it's less like reading a story than experiencing it firsthand.

I went to prison; therefore, I've been rehabilitated, and now I want to get on with my life. I have paid for what I did, end of story.