Top 1200 New Story Quotes & Sayings - Page 17

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.

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.

To me, a great story well told is a great story well told, and just because the protagonist is a young adult doesn't mean that story has less merit or worth than if the protagonist is a full-grown adult.

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.

Respect is one of the greatest expressions of love. If other people try to write your story, it means they don't respect you. They consider that you're not a good artist who can write your own story, even though you were born to write your own story.

Most people who read the autobiography perceive the narrative as a story that now millions of people know, and it was - it's a story of human transformation, the powerful epiphany, Malcolm's X journey to Mecca, his renunciation of the Nation of Islam's racial separatism, his embrace of universal humanity, of humanism that was articulated through Sunni Islam. Well, that's the story everybody knows.

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.

I didn't want to tell the story of what makes two people come together, although that's a theme of great power and universality. I wanted to find out what it takes for two people to stay together for fifty years -- or more. I wanted to tell not the story of courtship, but the story of marriage.

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?

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.

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?

In early 1999, I was watching TV, when I came across a story on Afghanistan. It was a story about the Taliban and the restrictions they were imposing on the Afghan people, most notably women. At some point in the story, there was a casual reference to them having banned the game of kite fighting. This detail struck a personal chord with me, as I had grown up in Kabul flying kite with my friends.

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.

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.

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.

The thing about games is, players often say they don't care about story, but then if you took the story out, what would their reaction be? If no one cared about story, we'd all still be playing Pac-Man. There's nothing wrong with Pac-Man, but the point is, there's a genre of games in which you want to become part of that world.

Budget grows out of the story. If you're writing a story with people caught in an elevator for most of the film, you're pretty sure it won't be a $200 million movie.

Well, there are conjoined twins in real life and we can tell a story about them so long as they're not the brunt of the jokes. In this, they're the heroes of this story; we love these guys.

The grand scale and immersive nature of The IMAX Experience gives Spiderwick a brand new level of excitement. In IMAX theatres, fans will be drawn into the movie even further and feel as if they are actually part of the story.

So if we're going to build new applications that require a large time investment, like say movie editing - today that doesn't matter for the enterprise desktop, but eventually it will when we get closer to consumers - you really need to have a cross-platform story.

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.

Separate the story - your story - from facts.

I'm working on a few different films and I'm just searching for the right new story to tell. As a director, you just have to kind of like just get through the first project before starting on the next one.

New directions in science are launched by new tools much more often than by new concepts. The effect of a concept-driven revolution is to explain old things in new ways. The effect of a tool-driven revolution is to discover new things that have to be explained.

My job is to cover the hell out of the story, very aggressively. The real place to be courageous if you're a news organization is where you put your people to cover the story. It's making sure that you have people going to Baghdad. It's making sure that you figure out how to cover the war in Afghanistan. While the journalist in me completely stands with them, the editor of the New York Times in me thinks my job is to figure out what the hell happened and cover the hell out of it, and that's more important than some symbolic drawing on the front page.

Every woman who appears wrestles with the forces that would have her disappear. She struggles with the forces that would tell her story for her, or write her out of the story ... The ability to tell your own story, in words or images, is already a victory, already a revolt.

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 thousands of stories I've collected over the years there are people who just want to know that their story matters, that their story isn't beyond hope. And people, no matter how broken a story I might read, I have always found at least a glimpse of God's hand still at work in each and every story. I have been powerfully reminded that God is in the junkyard business. He willingly walks into the messiest parts of our lives, gets his hands dirty, and begins building something beautiful out of that very thing which the world might overlook as worthless.

How it's Done is a richly woven tale of a young woman who discovers what it really means to be an adult. This story, told with honesty and heart, held me in my seat to the very end. I have discovered a new favorite writer in Christine MacLean.

The thing that ultimately pushed me more towards 'Aquaman' is I love the possibility of creating a whole new world. I've always wanted to do a world creation story and visually create this amazing, incredible, magical kingdom.

History is a story like any other, but black history is a story so devoid of logic that it frustrates the young reader. The young readers in my house, told of slavery and segregation, asked in disbelief, 'What? Why?' We - the parents of black children, the parents of all children - still need to tell that story.

'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.

Nietzsche said that everyone tells themselves the story of their life. That's true about countries, too. We're constantly telling ourselves the American story.

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.

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.

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.

The memory came faint and cold of the story I might have told, a story in the likeness of my life, I mean without the courage to end or the strength to go on.

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.

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.

'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.

At Home in the World is the story of a young woman, raised in some difficult circumstances, and how she survives. It tells a story of redemption, not victimhood.

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.

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.

The elements of a good story are most definitely details, little bitty details. That does it, especially when you're describing, when you're setting the scene and everything. It's like you're painting a picture, so details are very important. Also, the music gotta be right. The music can really set the tone for the story and let you know what the story is gonna be about, but definitely, it's the vibe in the place where you at and the detail.

You're not allowed to park a truck in your driveway. You're not allowed to work on your house on Sunday. The people who enforce these laws are nuts. After I wrote a column on this, I got I don't know how many letters from Coral Gables homeowners, story after story after story, wonderfully horrible stories. And the venom they felt for their own government!

When you stand and share your story in an empowering way, your story will heal you and your story will heal somebody else.

'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.

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.

'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've never done a movie in that genre, and I love a lot of those movies. I watched the director's [David Freyne] short film [The First Wave], which I loved. And the script was just so good. He's found this way to tell a new story.

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.

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.

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.

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.

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.

We actually do generate some new cells, some new neurons. So in the case of trauma there is the potential for there to be some new neural development which gives the person the chance to create new circuitry.

It was a major dream come true at last. In many respects, Jerusalem is a very modern and important story about people in a period of transition, with all the unrest that permeates society on the eve of a new century. The big life issues are at stake.

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.

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.

Tell the story as if it were only of interest to the small circle of your characters, of which you may be one. There is no other way to put life into the story.