Top 1200 Never Ending Story Quotes & Sayings - Page 13

Animation story boarding works differently than live action story boarding. The story crew along with a writer really does shape and create the film - the world and it's characters. We meet almost every day and brainstorm the plot of the film. It's a highly collaborative process - and we continue to improve the story until we literally run out of time.

I write because I'm in love with language; because I like working for myself, inside my head; and because it's the only way I know to make a stab at answering the never-ending questions of the heart that arise simply from the everyday living of our lives.

Every pellet has a story all its own. Every pellet has a story all its own. With its fur and teeth and bones And one or two stones, Every pellet has a story all its own. We shall dissect every pellet with glee. Perhaps we'll find a rodents knee. And never shall we tire In the sacred task that we conspire, No do our work less perfectly And those bright flecks at the core, Which makes our hearts soar, Shall forever remain the deepest mystery. - The owlets in the Pelletorium at St. Aegolius

And for better or worse, a story like 'Pieces of April' is the kind of story I'm supposed to tell. The kind of story that makes you laugh as much as possible but also breaks your heart.

I think there's a great difference in consciousness in that same way in that when we're young we read books for the story, for the excitement of the story - and there comes a time when you realise that all stories are more or less the same story.

What we call 'the news' always has tried to tell a story, and it's always told the story it wanted or, put most positively, whatever story it believed needed telling.

I always thought it was the saddest and most devastating ending. How you could have these enormous dreams that never get met. How without knowing it you could just make yourself smaller over time. I don't want that to happen to me.

The single story creates stereotypes, and the problem with stereotypes is not that they are untrue, but that they are incomplete. They make one story become the only story.

Art is constant tension and release. That is where artists live, between the two, or at times, submerged in either. The challenge is never ending perfection is impossible, it could always be different, better, or worse. It's not important, just process and striving to be like the man who walks the trapeze maintaining balance.

I'm a storyteller. I'm always willing to serve the story, a story I believe in, in whatever way is necessary. If I need to write the story I believe in, I will write it. If I've been offered to act in a story that I truly believe in, I will happily do that, but I'm a storyteller. That's something I'm so thankful for.

The story is everything, so it always begins with a story.And research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.

We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life 'outside' the story changes the story.

Only the story can continue beyond the war and the warrior. The story outlives the sound of the war drum... The story is our escort. Without it we are blind... It is the thing that sets us apart from cattle.

You used to need a big camera to direct, but now, anyone with an iPhone can tell a story visually. You can film something. You can start off with a five-minute story, then a 10-minute story.

I'm embarrassed to admit that I thought the world was ending my junior year of high school after a dye job reacted badly with my perm and left me with a sparse and burnt up hairline. Even though I went natural a few years later, my edges never seemed to recover.

When I get to tell a story through music videos or TV, it's all about finding the story that I want to tell, so I'm definitely open to acting roles, it just depends on the story.

I didn't do drugs, I never did do drugs. Never. I don't have any story of drugs, you know, to speak of. Never did drugs, never was interested in drugs and then I wasn't interested in the people around the drugs.

You can just keep going and going and going, and you never get to the end of it because there is no end. The ending is a beginning. If you feel like that, then you accept that wherever you have to stop on this journey, you continue in some other form somewhere else.

The characters are telling you the story. I'm not telling you the story, they're going to do it. If I do it right, you will get the whole story.

I have always wanted to write a novel, and I tried many times but could never find the right story. One day, I was walking on the beach, and the idea for 'Groundswell' hit me. I went into the house and started writing and never stopped.

The movie 'Vacation' had a whole different ending. They never even got to the amusement park, Wallyworld, at the end of 'Vacation.' The last 20 minutes of the film was entirely different - and bombed so badly that the audience just stopped cold.

Be real with yourself in whatever area of your life and your game that you need improvement on. Once you figure that out, you just have to go out and work on it. For me, it's footwork. I constantly work on it, and it's a never-ending process.

We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.

Every story is a story about death. But perhaps, if we are lucky, our story about death is also a story about love.

I never wanted to be an actor. My dad was an actor, and he never brought joy home, so I didn't view it as something that I would want to do. But I got fired as a secretary, and then I started studying, I started doing it just to earn money. And it took me a long time to learn to love it. And what I loved was telling a story. I tried to avoid making plays or films that weren't telling a story that I felt was important. I discovered in the process that it makes you more empathic because you have to enter someone else's reality and learn to see through many other people's eyes.

If your hair has never given you any trouble, if you've never had huge fights with your mother about it, then you might not have a story to tell. But I think most people do.

My father never feared death. He never saw it as an ending. I don't know why Alzheimer's was allowed to steal so much of my father before releasing him into the arms of death. But I know that at his last moment, when he opened his eyes - - eyes that had not opened for many, many days - - and looked at my mother, he showed us that neither disease nor death can conquer love.

Most really good fiction is compelled into being. It comes from a kind of uncalculated innocence. You need not have your ending in mind before you commence. Indeed, you need not be certain of exactly what's going to transpire on page 2. If you know the whole story in advance, your novel is probably dead before you begin it. Give it some room to breathe, to change direction, to surprise you. Writing a novel is not so much a project as a journey, a voyage, an adventure.

Every animated film that I've worked on - whether it was as a story artist or as Head of Story or even as director - where we originally started out with our story and where we eventually ended up were often very different places.

My grandmother is one of the biggest inspirations of my life. She was my biggest fan, and she made sure everybody knew it. Her never-ending joy was infectious, and there wasn't anyone who could beat her at partying and having fun.

To begin with, I want to tell a good story, a story that people will listen to and that they'll think this is true, even if it is a story that might be defined as - as myth or legend or even fanciful.

I kept a lot of my thoughts inside myself. So, perhaps more than is normal, I'm always questioning my role as a writer. I'm always stopping and asking myself: Do I have the right to tell this story? Is it a story that deserves to be heard? And as for whether I think of myself as a Writer with a capital "W," I very much hope I never do.

I feel that there is an alternate ending that leaps off too far into fantasy and there is an alternate ending that leaps off too far into pessimism, but that, in fact, the novel as it has developed should, if it's functioning correctly, have equipped you as the reader to make your own decision about where you want to go with that, about where you're going to fall on that continuum. So, the novel is taking you directly up to the point that you have to choose, and it's letting you do that.

Every family has a story that it tells itself, that it passes on to the children and grandchildren. The story grows over the years, mutates, some parts are sharpened, others dropped, and there is often debate about what really happened. But even with these different sides of the same story, there is still agreement that this is the family story. And in the absence of other narratives, it becomes the flagpole that the family hangs its identity from.

Cutting through the acronyms and argot that littered the hearing testimony, the Internet may fairly be regarded as a never-ending worldwide conversation. The government may not, through the CDA, interrupt that conversation.

Let the story lead you. If the story needs to be dark, let it go dark. If it's a sweet, good-for-the-world story, that's what it is.

Up the Rebels, To Hell with the Pope, And God Save--as you prefer--the King or Ireland. The land of scholars and saints: Scholars and saints my eye, the land of ambush, Purblind manifestoes, never-ending complaints

It's true that writing can give new forms to concepts that existed previously with far less clarity, but in terms of the other half of a story's story - the way a story is received and interpreted and used - the audience plays a part in that too.

I think our great task is to make certain that our young men and women in the military do not get sucked into never- ending, perpetual warfare within the quagmire of Syria and Iraq. And I will do my very best to make sure that that doesn't happen.

It might be a very human thing across the board, but we, in America, love a story - we need a story to get involved in. But then everything becomes more about how the story protects a certain perception as we pick sides.

I'm drawn to a good story, really, as I hope most people are. For me, it's the story that's going to stay with you eventually, not necessarily the genre. I go to watch a film because of the story, not because it was a Western or a comedy.

And time itself? Time was a never-ending medium that stretched into the future and the past - except there was no future and no past, but an infinite number of brackets, extending either way, each bracket enclosing its single phase of the Universe.

This story never really had a point. It’s just a lull - a skip in the record. We are addresses in ghost towns. We are old wishes that never came true. We are hand grenades (and every word you say pulls the pin). We are all gods, we are all monsters.

The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.

The Wonder Woman that you see in 'Batman v Superman' is a woman who has been around, and she's very experienced. She understands a lot about man. Whereas, in the standalone movie, we are telling the grown-up story, Diana becoming Wonder Woman, and this was a story that was never told before.

As adults we try to relax from the never-ending quest for reason and order by drinking a little whiskey or smoking whatever works for us, but the wisdom isn't in the whiskey or the smoke. The wisdom is in the moments when the madness slips away and we remember the basics.

Staying relevant is key. When you're telling your story, you better have a modern story to tell. If I was still saying the same story I was saying 10 years ago, it would not be that interesting.

The actors come in and they make characters their own and so Patrick and I have never been the kind to think that our script is the bible. We want to make sure that the story is told, that you stick to the story but if you have to make changes to the character then that's fine. A lot of times there are some funny one-liners, funny things that happen that are out of the ordinary. I like it.

Each of us may think we know exactly what we need to make us happy, what will be good for us, what will ensure we have our happy ending, but life rarely works out in the way we expect, and our happy ending may have all sorts of unexpected twists and turns, be shaped in all sorts of unexpected ways

There was no way to take the story back, folding it neatly into the place I'd kept it all this time. No matter what else happened, from here on out, I would always remember Wes, because with this telling, he'd become part of that story, of my story, too.

Vera said: 'Why do you feel you have to turn everything into a story?' So I told her why: Because if I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me. Because if I tell the story, it doesn't hurt as much. Because if I tell the story, I can get on with it.

The story is everything, so it always begins with a story. Research is a kind of scaffolding built underneath the story as I go along. My enjoyment level varies, but in general, I'm writing about topics I find interesting, so I can't gripe too much.

Cops never took anything on faith, and disbelieved every story that was told them on principle until and unless they could confirm that the story was fact in all its essentials, and even then remained wary and unconvinced. Cop shops bred skeptics. Skeptics cherished few illusions about human nature, and therefore were seldom disappointed.

There's a bizarre insistence on how a story should be. 'The protagonist must be sympathetic!' they say. Whatever that means. I never engage in that discussion. I never use that word, 'sympathetic.' I just know 'interesting.'

For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.

Mine is a story about a teenage single mother who struggled to keep her young family afloat. It's a story about a young woman who was given a precious opportunity to work her way up in the world. It's a story about resiliency, and sacrifice, and perseverance. And you're damn right it's a true story.

Even when I do commercials, I try to tell a story about the product. With music, I try to tell the story of the person's struggle for success. And I believe every word I say. I never read anything on the air I don't believe in. I think people sense that about me, and they respond to it.

Whom do I write for? I write for the story. Each story, it seems to me, knows best how it should be told. As I once put my ear to the railroad track, I listen now for the voice of my story.

Readers re-create any story to suit their own needs. They re-clothe the story in their own shirts. Put simply: just as we write the story we need to write, they read the story they need to read.

Between podcasts and places like Funny or Die or CollegeHumor, there are so many venues to get the word out. It makes it difficult in that there's a never-ending desire for content, so you have to constantly be turning stuff out, but that makes you better and more prolific in general.