Top 1200 Narrative Quotes & Sayings - Page 19

The trite answer is that everything is true but none of it happened. It is emotionally true, but the events, the plotting, the narrative, isn't true of my life, though I've experienced most of the emotions experienced by the characters in the play.

Being outside is a loose theme on 'Paracosm.' Acoustic-sounding instruments have that warmth to them that is really important to communicate. It was really important for me to tell a story - my favorite records have a narrative feel.

In the United States in the 20th century, every major event that America was going through, there was a boxer who seemed to symbolically represent it, from slavery to the Vietnam War to the Depression - all the way along, you just seemed to have boxers that carried the narrative.

To know how to structure the joke perfectly so that the narrative information is given in the right tempo, in just the right dose - it sometimes takes quite a lot of work. It seems easy when you hear the joke.

I believe there are aspects of the narrative that become easier to understand by shifting the focus of the story to the characters. Illustrating growth and change in the protagonist becomes a simpler process, and these changes are, in fact, one of the themes of 'Sekiro: Shadows Die Twice''s story.

I wanted my first novel to be a veritable infarct of narrative cloggers-the trick being to feel your way through each clog by blowing it up until its obstructiveness finally reveals not blank mass but unlooked-for seepage points of passage.

The narrative oftentimes is that everything that comes out of the hood is 'real,' and so I thought, 'I'll base it on the absurd, the not real. I'll twist the idea of real on its head and see if I can get away with it. I'll make paintings that come not from a place but through an abstract gaze.'

A lot of people put out albums with sort of crappy songs and a couple of singles because they know no one's going to listen to it anyway. We very much wanted it to be something that you do listen to from beginning to end and had a narrative that was important.

In New York and L.A., there is sort of that silent competition to be on the cutting edge of something. You end up having a conversation with how the world receives your work, especially if you are writing narrative, not fiction. Sometimes it is an awkward conversation. It's like group therapy.

I'm about women's empowerment. I'm about agency. I'm about being in control of your narrative and your body.

My concern is how we live fictions, how fictions have real effects, become facts in that sense, and how our experience of the world changes depending on its arrangement into one narrative or another.

Even the pictures I was doing at college - a little narrative based on a butterfly catcher, or a chimney sweep - the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through - it's exactly what I do now.

I've had frustrated storytelling juices that have been lying dormant for a long time, and I guess the documentary was a way of me telling a story that I felt most qualified to tell. And I loved it, and I'd love to do something else someday, probably more narrative-based. But I'm in no rush.

I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene.

The power of music, narrative and drama is of the greatest practical and theoretical importance. ... We see how the retarded, unable to perform fairly simple tasks involving perhaps four or five movements or procedures in sequence, can do these perfectly if they work to music.

Art brings a message into a room. It should make us perceive in a new way - either through color, form or narrative content - something we had not perceived before... and perhaps reveal something to you about yourself.

If you open the door and realize things like the fact that Batman is occupying the same narrative space that Robin Hood used to fill 400 years ago, then you have the freedom to ignore the pointless "what is literature" discussion and just talk about stories.

I had never thought that I would be involved in narrative structures. As a young guy, I was more interested in abstract modeling. But as I got older, I began to see that there was no reason to limit myself to any intellectual or conceptual postulate, when in fact I'm a professional student of music.

The more elaborate your narrative, the more the spectator shuts up and listens obediently. And if the filmmaker keeps quiet, the spectator will himself project his own assumptions and sentiments onto the screen.

While we can all access articles and information in so many places now - across blogs, in newspapers, on video - there is something very powerful about putting it all together into an edited format in a single issue that has a narrative stretching across the themes.

Do we really want the truth, or do we want a truth that fits our narrative?

Concentrate your narrative energy on the point of change. This is especially important for historical fiction. When your character is new to a place, or things alter around them, that's the point to step back and fill in the details of their world.

I am the head of development at Giant Spacekat, a Boston-based studio that's an industry leader in making games for women. We are passionate about creating narrative games for the avalanche of new consumers who don't fit the old gamer stereotype.

In terms of a narrative nonfiction book, when you're describing scenes that you have multiple sources for, and that you have differing sources for, and you decide to choose a path that puts all that information together, well yeah, there's definitely going to be a little bit of the author in that. But there's nothing wrong with that.

I used to write travel essays, and I was struck by how the fact of writing about a place would change my relationship with it. I would make completely different choices, do things I wouldn't have normally, because I had to fill this narrative shape.

Acting was always the first love, but a lot of people want to be actors, and my goal was, 'Come hell or high water, I will be a part of this world, however I can.' So that just led me to throwing myself into every aspect of narrative storytelling I could.

Before people outside of the Western European tradition started asking to be in there, the people who were accumulating objects for the museum were perfectly satisfied with the narrative they were constructing.

We all have an aggressive dedication to the narrative arts - comics, film, electronic gaming, and more. We spend much of our time and effort exploring those forms and have an enormous investment in the arts. We're all part of the same brotherhood as far as I'm concerned.

I wanted to write a book about poverty that wasn't only about the poor. I was looking for some sort of narrative device, a phenomenon that would allow me to draw in a lot of different players. I was like, 'Shoot, eviction does that.'

Even 'Piku' was quite an experiment in terms of storytelling because on the surface nothing happens in the film. If you ask me what was the film about, it was about father-daughter fighting and the narrative captured their daily life.

Lewis Carroll, you see, wasn't really interested in telling an exciting story. Well, he wasn't interested in things like cause and effect or a linear narrative. It's surreal, it's absurd, it's wordplay, it's satirical, it's analyzing itself, it's funny, it's an enormous challenge.

Referring to ISIL as a destructive religious cult rather than a legitimate theo-political 'radical Islamic' group is not just more accurate, it also exposes ISIL's corrupt religious narrative.

As a writer, I find it a literal impossibility to disengage from whatever the location might be, given how everything that eventually transpires as part of the ongoing narrative is informed by it. In other words, try relocating the stories elsewhere, and what's the effect? They almost immediately cease to exist.

I think we're so advanced when it comes to watching narrative material. I mean, it's all we do is consume content all day long. So when a character walks onscreen, you immediately start making connections for that character: Is that a good guy? Is that a bad guy?

It's what people have always done. They have always told stories, put on plays. It's characters and narrative and thought and context and resolution so you reflect the way the world is in some way. It comes out of experience. I think it's OK to do that.

What sets 'Miss Peregrine's Home for Peculiar Children' apart is Riggs's use of 'found' photographs as a spark of inspiration for the narrative. 'Found' describes art created from common objects that are not normally considered art.

I want to be in control of drafting at least 80% the timing and cohesiveness of character and narrative. I want to be in control of giving you an experience, and want you to be acknowledged as an audience and can do things but only in a limited scope.

My dad and I used to shoot little one-stop animations on an old 8mm film camera when I was no more than 7 or 8, and when he was away at work, I would keep shooting nonsensical, short animated films using 'Star Wars' figures or Smurfs - depended what the narrative was.

I don't really have a drive toward being a director at all. Not that I wouldn't rule it out, but I just don't think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.

There is commerciality in storytelling, even in a film or a piece of literature. These things exist. That's why stories came to be: to hold attention and, while you're not looking, you'll get hopefully some nutritional value that the author has been working up. That's narrative; that's passing stuff down.

Certainly in my youth there was lots of singing, lots of storytelling, and whenever we went to a party, you had to do a party piece, like sing songs, recite poems, or tell stories. That sort of narrative musical culture was my upbringing.

I'm at the point now where I don't really have an agenda. I kind of let things flow, and there's not a narrative. On the set it's usually one or two people, and I'm not trying to choreograph them as I did in the past. I'm really just trying to see what's going on in their minds and in their faces.

We're remembering each other's heroes, too. We are learning each other's songs. We are reminding ourselves that we are a global family praying together. We're all trying to live in the light of the history that shines through the biblical narrative.

There's something about that puritanical narrative of progress and upward mobility and work ethic that the glorification of abstinence fits pretty neatly into. That pairs with the fact that 12-step recovery has had too large a monopoly on how treatment is understood in America.

I'm wondering if the Roger Ailes scandal in which more than 20 women have come forward accusing him of sexual harassment is going to affect that narrative that's directed against Hillary [Clinton] and her husband pertaining to his infidelities.

You know, there is an image of me out there for which advocacy of a universal basic income is inconsistent. It doesn't fit the narrative because this is supposed to be the hardhearted, racist, sexist, homophobe, Charles Murray. And he wants to increase spending on the poor? That doesn't fit.

If the great story of the last century was the conflict among various political ideologies-communism, fascism and democracy-then the great narrative of this century will be the changes wrought by astonishing scientific breakthroughs

I've always enjoyed that kind of thing - thinking about the production of narrative and why it is that when we read a novel, we don't notice the fact that someone who might be very close-mouthed or tight-lipped is perfectly willing to tell us a story in 600 or 700 pages.

Muslim communities are the ones that going to see radicalization happening at a mosque or hear it in the community or even among their own family members. And the other part is that there is a narrative that ISIS and other jihadists pose that this is a war between Muslims and the rest of the world.

I'd love if between 'La La Land' and 'The Greatest Showman' we generate a new wave of movie musicals because, as an art form, musical narrative is so engaging and has produced some of the most iconic moments in cinema history.

My narrative is that I've never known what's coming next-I still don't. I fell down the right set of stairs and have been surrounded by people who have picked me up and said, “Let's try this again.” It's been one anxious block of uncertainty after another.

My show is sort of a short-film anthology, and I'm able to tell little stories that don't necessarily carry a whole episode in terms of narrative. I like the audience not being sure what they're getting. I think it's more fun to watch something when you're discovering it as you go along.

When you look at someone good like J.J. Abrams who gives you the spectacle and great action set pieces but also gives you character and great story and plotting and narrative, I think it's my job - and my intention - to do both.

I have this natural thing in my head that when I sit down to write something serious, I tend to make jokes. I can't help it. I can't help but desire for the narrative to be as complicated and as truthful as possible. That's just the way my head works.

While historians may go on attempting grand, sweeping and defining narratives, they work in a time when readers know that another narrative always lies in wait, and that the more intelligent an historian is, the more tentative and self-scrutinizing the tone.

I say 'spectacle' rather than 'story' because in the end, it isn't the intricacies of narrative that draw us to horror films. When it's there, I'm grateful for the director's skill at telling an exquisitely nuanced tale filled with psychological insight, but it is the spectacles that I take home with me.

It's a risk, but I'm sort of ready to let go of thinking of movies as books that you can watch. The notion of, 'If I put the narrative blocks in the right order, this will solve all of my storytelling problems.' No, it won't, and you end up with little more than books on film.

Being true to yourself involves showing and sharing emotion. The spirit that motivates most great storytellers is 'I want you to feel what I feel,' and the effective narrative is designed to make this happen. That's how the information is bound to the experience and rendered unforgettable.

I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.

Well, I think it's important to have some kind of a narrative engine that pushes the audience through the landscape. But I love films like 'Apocalypse Now,' which is a very mood driven film. It's a magnetic force that's pulling them through.