Top 1200 Sad Story Quotes & Sayings - Page 17

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.

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.

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.

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.

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.

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.

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.

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.

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

'Puffball' is a love story... no, it's a life story.

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?

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.

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.

When we go to the movies, we identify with the characters we see. That's why we go to the movies; we have a voyeuristic experience; we have an out of the body experience. The screen is more real than our thoughts are at the moment we are looking at the film and we place ourselves in the place of the people on the screen, and when they behave nobly, it makes us feel noble, when they are sad and when they have lost love, we feel sad; we can identify with that.

There's only one story, the story of your life.

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.

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.

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

Philip Galanes makes his debut with a novel that is both heartbreaking and deftly comic, the story of a young man struggling with his most primitive desires--wanting and needing. It is a novel about the complex relationships between parents and children, a story of loss and of our unrelenting need for acknowledgment, to be seen as who we are. And in the end it is simply a love story for our time.

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.

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.

People are over 20 times more likely to remember a story than a series of facts and figures. A good story touches our hearts.

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.

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.

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.

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.

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.

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.

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.

The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.

'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.

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?

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.

'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.

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.

To recover the fatherhood idea, we must fashion a new cultural story of fatherhood. The moral of today's story is that fatherhoodis superfluous. The moral of the new story must be that fatherhood is essential.

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.

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.

Every love story is a ghost story.

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.

Bog-lights, vapors of mysticism, psychic overtones, soul orgies, wailings among the shadows, weird gnosticisms, veils and tissues of words, gibbering subjectivisms, gropings and maunderings, ontological fantasies ... this is the stuff, the phantasms of hope, that fills your book shelves. Look at them, all the sad wraiths of sad mad men and passionate rebels — your Schopenhauers, your Strindbergs, your Tolstois and Nietzsches. Come. Your glass is empty. Fill and forget.

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 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.

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.

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.

'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.

Separate the story - your story - from facts.

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.

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.

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.

'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 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.

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.

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.

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.

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.

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.

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.

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