Top 1200 Real Story Quotes & Sayings

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.

Every real story is a never ending story.

Any story worth telling relates to real life in some meaningful way. Scifi allows you to tell meaningful stories without seeming too preachy - it adds a metaphorical layer between the story and the real world. Scifi is dismissed as ungrounded fluff, but it's actually the opposite.

When a song comes from a real story and from a real place I think it comes across to people. That's important.

I think that a great newspaper is one that puts a real premium on digging to get the story behind the story.

And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.

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.

...we do not simply get showered with Hollywood money because we happened to write a little story about wizards one day. It's not winning the lottery. It's a real job, which real people do, and they have the same real problems as other real people.

I think writers can get too attached to these worlds they create, these characters they make real, so that, instead of ending the story where the story's asking to end, they draw it out, unable to let go.

The value of a story like 'Deadline' is kids get to look at death at the perfect distance. They can put the book down. They can experience the story, rub up against it, but it's not real life.

There was no short answer to this; like so much else, it was a long story. But what really makes any story real is knowing someone will hear it. And understand.

The real story of Facebook is just that we've worked so hard for all this time. I mean, the real story is actually probably pretty boring, right? I mean, we just sat at our computers for six years and coded.

All I can guess is that when I write, I forget that it's not real. I'm living the story, and I think people can read that sincerity about the characters. They are real to me while I'm writing them, and I think that makes them real to the readers as well.

It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.

That story about the two women in my life is - a lot of people get upset, a lot of people question it. Steven Soderbergh said to me, "The story of your life is incredible. The real story of your life that's interesting, more interesting than all the other stuff - the franchises, the movies, the songs, Elvis Presley, Frank Sinatra - the real thing that's interesting and unbelievable is the relationship with these two women. And if you're willing to put that out there, you know then, you're going to have a great movie. Because that's the movie."

While 'Precious' isn't a real person, it's someone's story, and it's too many peoples' story.

Nothing was ever handed to me. My hope is that when people read my story, it will inspire them to reach for their goals and not give up. The real story is this: if I can do it, you can, too.

Portraying Pocahontas' story well was important to me because she was a real person and these were real events in her life.

A major boom in real stock prices in the US after Black Tuesday brought them halfway back to 1929 levels by 1930. This was followed by a second crash, another boom from 1932 to 1937, and a third crash. Speculative bubbles do not end like a short story, novel, or play. There is no final denouement that brings all the strands of a narrative into an impressive final conclusion. In the real world, we never know when the story is over.

'Watchmen' is a politically charged story, and it explores exactly what a hero is, how the world would treat them and how they would react. It was the first time I read a superhero story that explored that situation. These are very real people with very real problems.

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.

For the serious biographer, history and the life story of a real individual are inseparably intertwined. Get the facts wrong, or distort them, and the life story gets distorted: becomes fiction.

It's like fiction - 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. You go through heavy emotional responses to these stories, and wrestling is a similar thing - but it's happening in real space.

If you write a story based on a real person, you're trapped by the details of the real person and his life. It gets in the way of writing your own story.

Literature is an aspect of story and story is all that exists to make sense of reality. War is a story. Now you begin to see how powerful story is because it informs our worldview and our every action, our every justification is a story. So how can story not be truly transformative? I've seen it happen in real ways, not in sentimental ways or in the jargon of New Age liberal ideology.

Orwell says somewhere that no one ever writes the real story of their life. The real story of a life is the story of its humiliations.

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.

All we have is the story we tell. Everything we do, every decision we make, our strength, weakness, motivation, history, and character-what we believe-none of it is real; it's all part of the story we tell. But here's the thing: it's our goddamned story!

I don't care whether the story is real or fantastical. I tell the story that needs to be told.

Love is a story we tell with another person. It's cocreation through conarration. When you hit bumps in the road and challenges, you write a new chapter in your story together. Love is the constant act of revising and retelling your own story in real time. You don't do it by yourself. You do it with someone else. The only way you do that is to talk to each other and create a shared narrative.

That's a very real feeling - that I don't have a story to tell. I'm not a pure storyteller. I have a tough time with story.

In Washington, the ostensible story is rarely the real story.

I think I have learned to really get out of the mathematical side of myself that looks at story and story structure and go with, "Okay, well, what would people do in real life?"

I think it has most to do with the way in which a story is told, whether it feels real either via the music of the telling or the honesty of the story.

My hope is that when people read my story, it will inspire them to reach for their goals and not give up. The real story is this: if I can do it, you can too.

It is easy to make stuff up - and easy to dig up information and repeat it or report it to others. But to find a real life story with real people in real life situations is quite difficult and time-consuming. Yet, the rewards are worth the effort.

Oh,Sara. It is like a story." "It is a story...everything is a story. You are a story-I am a story. Miss Minchin is a story.

I often feel that with a crime story, the moral standards have to be higher. You're deal with real victims and with real consequences.

In a story, you can turn to the front and begin again and everyone lives once more. That doesn't work in real life. And I love my real people the most.

The concept of 'Heavy Rain' is to offer real-life situations with real characters. There are no supernatural elements in the story.

I make a distinction between true and real. I think that the story is true, it’s just not real. That’s what a parable is. It takes things that we all know are real, and it takes life events that actually happens, and it weaves them into a fiction that allows truth to actually be embedded.

The great thing about the story of 'Twilight', or the story of 'I Am Number Four' is that you get to deal with real issues of identity and what people are going through and the choice of who you're going to be, but it's all large.

My favorite kinds of stories are the ones that have these big crazy genre hijinks and then a real honest, meaty, emotional story where we're watching a character grapple with some real things.

Settings are obviously important - and as a writer, you have to respect what was real at the time of the story you're writing. But the real key to success lies in finding the right characters to carry that story.

If I write a fantastic story, I'm not writing something willful. On the contrary, I am writing something that stands for my feelings, or for my thoughts. So that, in a sense, a fantastic story is as real and perhaps more real than a mere circumstantial story. Because after all, circumstances come and go, and symbols remain.

When an acting teacher tells a student 'that wasn't honest work' or 'that didn't seem real,' what does this mean? In life, we are rarely 'truthful' or 'honest' or 'real'. And characters in plays are almost never 'truthful' or 'honest' or 'real'. What exactly do teachers even mean by these words? A more useful question is: What is the story the actor was telling in their work? An actor is always telling a story. We all are telling stories, all the time. Story: that is what it is all about.

I think it has most to do with the way in which a story is told, whether it feels real either via the music of the telling or the 'honesty' of the story.

What drew me to Batman in the first place was Bruce Wayne's story, and that he's a real character whose story begins in childhood. He's not a fully formed character like James Bond, so what we're doing is following the journey of this guy from a child who goes through this horrible experience of becoming this extraordinary character. That, for me, became a three-part story. And obviously the third part becomes the ending of the guy's story.

As an actor, whatever I get the opportunity to do, if it has a good story then I'm in. I thought 'Dead End' had a great story; 'Nightmare on Elm Street,' of course, was probably the first real horror film I was in.

I just think people have a lot of fiction. But, you know, I mean, the real story of Facebook is just that we've worked so hard for all this time. I mean, the real story is actually probably pretty boring, right? I mean, we just sat at our computers for six years and coded.

Story is the oldest, commonest, most beloved, and most effective form of communication because our life is essentially a story. That's why the Bible is the most realistic of religious books. We can easily ignore or argue away abstractions, but we bump up against concretely real people, things, and events in story, as in life.

Sometimes the music just has to tell the story without you trying to tell the story. It depends on the type of music you want to make. If it makes you feel good and party then you go with that. If it makes you feel like speaking on something real and doing a story then it's the beat just has to have the story.

If your subject is crime, then you know at least that you're going to have a real story. If your subject is the maturing of a college boy, you may never stumble across a story while you're telling that. But if your story is a college boy dead in his dorm room, you know there's a story in there, someplace.

I write - and read - for the sake of the story... My basic test for any story is: 'Would I want to meet these characters and observe these events in real life? Is this story an experience worth living through for its own sake? Is the pleasure of contemplating these characters an end itself?

The first book was a life story that I was hesitant to write anyway because I didn't feel like I had a real life story... It was a surprise hit.

There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.

Each story presents a mystery that has to be solved in the process of writing. When I'm at work on a story, I'm completely immersed in that world and in the lives of those characters; they're utterly real to me. Then, when I've completed the story, it all just falls away. The whole compulsion to understand is over.

The harder part of doing a real story is that there are real people and you have a responsibility to not just go crazy with their lives and have them do things which are not their character, that they then have to live with.

If the point of life is the same as the point of a story, the point of life is character transformation. If I got any comfort as I set out on my first story, it was that in nearly every story, the protagonist is transformed. He's a jerk at the beginning and nice at the end, or a coward at the beginning and brave at the end. If the character doesn't change, the story hasn't happened yet. And if story is derived from real life, if story is just condensed version of life then life itself may be designed to change us so that we evolve from one kind of person to another.

'Emily Rose' was based on a real story, and the real girl died, and there were surviving members of the family, so I took the concerns of that very seriously.