Top 1200 Sad Story Quotes & Sayings - Page 19

I think if the content is good and the content is interesting, the at home viewer will watch it for as long as the story is interesting thus the responsibility for making the story interesting falls on the shoulders of the reporter or the producer. Then I'm disappointed that producers have felt that television can only be told in 59 second story bursts because we've become, it's become journalism based on MTV, video electronic editing and cutting.

Visually, I want to try everything. But I believe that every shot of my films really expresses what I think about the story and the character. The most important thing is the story, not the images.

In 1978, 'Time' magazine sent me to do a story about children in Southeast Asia fathered by American GIs. What I saw was very upsetting, but the story they published was whitewashed.

With me, a story usually begins with a single idea or mental picture. The writing of the story is simply a matter of working up to that moment, to explain why it happened or what caused it to follow.

The story of everyday people rising up to fight against evil to protect their families - it's a story that we've seen play out throughout history and across the world today.

The story of slavery is everybody's story. It is the story about how we're all shaped by, regardless of race, regardless of how long we've been in this country. We hope that we can be a factor to both educate America around this subject but maybe more importantly help Americans finally wrestle with this, talk about it, debate it, because only through that conversation can we ever find the reconciliation healing that I think we all want.

I may have a story idea but everything starts moving when I am able to see my characters clearly. They then organically lead or respond to the story or the universe I want to create.

I was immediately swept up in Ariane's story. Equal parts thrill-ride and love story, The Rules is intense and emotional. This book stays with you long after you finish.

No ancient story, not even Homer's Iliad or Odyssey, has remained as popular through the course of time. The story of Rama appears as old as civilization and has a fresh appeal for every generation.

There's an indie movie I did called 'Fat Kid Rules the World,' which was based on a teen book, and it's a fabulous story, and hopefully it'll go to theaters because it is an amazing story.

An interesting example is that the worst woman in the book, who is so cruel and violent, is the sorceress in "The Prince of the Black Islands." She's a beautiful young woman, and she has turned her husband into stone from the waist down. A traveling sultan finds him, in his dreadful state, and the man petrified from the waist down tells his sad story...how his wife comes every afternoon and beats him until the blood runs down. She's just unwontedly, arbitrarily cruel.

Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it.

We need to have profound compassion for the people who are dealing with the very real issue of sexual dysfunction in their life, and sexual identity disorders. This is a very real issue. It's not funny, it's sad. Any of you who have members of your family that are in the lifestyle-we have a member of our family that is. This is not funny. It's a very sad life. It's part of Satan, I think, to say this is gay. It's anything but gay.

America's story is largely an immigrant story. That hasn't changed since the Pilgrims ate their first turkey some four hundred years ago, and they were the original boat people.

Everyone has a story, and the story changes, and the more I can root into the truth of things - it's so hard - I don't think anyone ever really puts it all together. But somewhere along the way it all became fused.

The Song is a gritty, realistic, and powerful film. The acting and production quality are excellent, and the story is captivating. Although not for children, the story is a good reminder to adults of what really matters!

You and I both know there's got to be some greater storyline for you than 'girl gets heart broken, was sad forever'. I think a nice one would be 'girl gets heart broken, was sad for a while but in her heartbreak she found freedom, friends, and the ability to look back and laugh at all she'd learned. She now lives her life on her own terms and still has fantastic hair.'

The "I've tried everything" story ensures failure. You must create an empowering story that recognizes that everyone has failed a lot but successful people have found a way to rebound until they succeed.

It's sometimes hard to wrap your head around a big story, and for most of us drawing editorial cartoons 9/11/ 01, that was the biggest story of our professional lives.

I will never repeat something verbatim on the air unless I know it's accurate. And when you go to the source, sometimes there's a better story beyond the original story. That happens all the time.

So often we try to make other people feel better by minimizing their pain, by telling them that it will get better (which it will) or that there are worse things in the world (which there are). But that's not what I actually needed. What I actually needed was for someone to tell me that it hurt because it mattered. I have found this very useful to think about over the years, and I find that it is a lot easier and more bearable to be sad when you aren't constantly berating yourself for being sad.

Look at Chancellor [Angela] Merkel, her personal story helps to tell a story of incredible achievement that the German people have embarked on and I think is something that you should be very proud of.

A 60-story tower in New York evokes a 70-story tower in Chicago [and] a 60-story tower in New York evokes a 70-story tower directly across the street.

More people pay attention to fiction and to narrative than pay attention to journalism. That's quite sad. More people pay attention to television than to prose. That's equally sad, if not more so.

I'll give you the sole secret of short-story writing, and here it is: Rule 1. Write stories that please yourself. There is no rule 2. The technical points you can get from Bliss Perry. If you can't write a story that pleases yourself, you will never please the public. But in writing the story forget the public.

You didn't plan to write a story; it just happened. Well, it could be argued that the next thing you should do is find a hole to dig. Right? So you start digging a hole and then somebody brings a body along and puts it in. That's what a story must feel like to me. It's not that you say, "I want to write a story about a gravedigger." But you're walking along and "I don't know what I'm doing here in this story,' and - boop! a shovel. "Oh, interesting. Ok, what does one do with a shovel? Digs a hole. Why? I don't know yet. Dig the hole! Oh, look a body."

You're sad-looking," she said. "My grandson used to be such a happy boy. He used to write me stories. I remember the first story he ever wrote me, 'Once upon a time, there was a boy.' And that became 'Once upon a time there was a boy who wanted to fly.' And they kept getting better and better over time. I never found out if the boy got to fly." I gave her a small smile. If only she knew the boy's wings had been clipped.

I never know exactly where I'm going with a story, whether it's a short story or a novel. If I did I'd soon grow bored of it. The fun, for me, is in the finding out and the making sense of it.

You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it's going to be about something and it does the opposite.

The devadasis have a multilayered story, a story in which poverty, deprivation and injustice against women is central - but what has happened to them is absolutely an outcome of imperialism and the impact of British rule in India.

My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.

My [story] outlines are usually about 5-6 pages long. I'm essentially telling myself the story in short form. I try to make it clear who the major characters are, what they want, and what obstacles they face.

With 'The Forty Rules of Love,' I wanted to write a love story. But I wanted a love story with a spiritual dimension. For me, that took me to Rumi. And from Rumi, I went to Shams of Tabriz. That's how the story took shape.

I love all of the ballets that have a really strong story in them where I get to play a character. I don't enjoy the ones that are more technical without a story line and it's just me on stage dancing.

Some people do want to stand on the rooftop and scream out their story. Others are cowering in the corner, or sitting with a blank face in class, and not knowing how to tell their story.

'A Tree Grows in Brooklyn' by Betty Smith is one of my favorites. Even though it doesn't have any monsters or crazy fantasy in it, it's such a raw story, and I can really relate to the characters. I think it's a beautiful story.

Your soul is a chosen landscape Where charming masked and costumed figures go Playing the lute and dancing and almost Sad beneath their fantastic disguises. All sing in a minor key Of all-conquering love and careless fortune They do not seem to believe in their happiness And their song mingles with the moonlight. The still moonlight, sad and beautiful, Which gives the birds to dream in the trees And makes the fountain sprays sob in ecstasy, The tall, slender fountain sprays among the marble statues.

Each of us is born with a series of built-in confusions that are probably somehow Darwinian. These are: (1) we're central to the universe (that is, our personal story is the main and most interesting story, the only story, really); (2) we're separate from the universe (there's US and then, out there, all that other junk - dogs and swing-sets, and the State of Nebraska and low-hanging clouds and, you know, other people), and (3) we're permanent (death is real, o.k., sure - for you, but not for me).

As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.

The Negro. The South. These are the details. The real story is the universal one of men who destroy the souls of other men (and in the process destroy themselves) for reasons neither really understands. It is the story of the persecuted, the defrauded, the feared, and detested. I could have been a Jew in Germany, a Mexican in a number of states, or a member of any 'inferior' group. Only the details would have differed. The story would be the same.

When I get moved to write a story, I don't question the story. I dive right in, and I try to ignore the voices that are chattering away at me: 'You can't do that', 'You shouldn't do that'. I just sort of leap and take a chance and go for it.

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.

Money is the probably the most successful story ever told. It has no objective value... but then you have these master storytellers: the big bankers, the finance ministers... and they come, and they tell a very convincing story.

It thought about the magic that happens when you tell a story right, and everybody who hears it not only loves the story, but they love you a little bit, too, for telling it so well. Like I love Ms. Washington, in spite of myself, the first time I heard her. When you hear somebody read a story well, you can't help but think there's some good inside them, even if you don't know them.

One of the great tragedies of life, it seems to me, is when a person classifies himself as someone who has no talents or gifts. When, in disgust or discouragement, we allow ourselves to reach depressive levels of despair because of our demeaning self-appraisal, it is a sad day for us and a sad day in the eyes of God. For us to conclude that we have no gifts when we judge ourselves by stature, intelligence, grade-point average, wealth, power, position, or external appearance is not only unfair but unreasonable.

By the year 1670, wooden chimneys and log houses of the Plymouth and Bay colonies were replaced by more sightly houses of two stories, which were frequently built with the second story jutting out a foot or two over the first, and sometimes with the attic story still further extending over the second 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?"

Don't be sad. Even if the world won't forgive you, I'll forgive you. Don't be sad. Even if you don't forgive the world, I'll forgive you. So please tell me. How do I make you forgive me?

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.

Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it

It is possible to take the story of Noah figuratively, although virtually every Near East ancient civilization has its own version of the flood story (including the amoral epic of Gilgamesh).

Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.

It's my story ["Selling Isobel"].I chose to write a screenplay about it because I think film is the quickest medium to get a story out, rather than writing a book.

Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.

I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.

The burning of a book is a sad, sad sight, for even though a book is nothing but ink and paper, it feels as if the ideas contained in the book are disappearing as the pages turn to ashes and the cover and binding--which is the term for the stitching and glue that holds the pages together--blacken and curl as the flames do their wicked work. When someone is burning a book, they are showing utter contempt for all of the thinking that produced its ideas, all of the labor that went into its words and sentences, and all of the trouble that befell the author . . .

I've seen cookbooks from lots of great chefs that have been disappointing. A book, to me, it has to have a story. Some of these people, they open a restaurant, and one year later, there's a cookbook. There's not much of a story yet.

I guess you just feel like there's a whole story that's not being told in movies. You're only seeing the macho guy version of a story that from the woman's side, may be completely different.

I think that what I do is a form of pathetic fallacy, the literary trope in which nature is in sympathy with the mood of the story. I connect the physical setting and props in the story to the emotional state of the characters.

what storyteller is adequate to her story? The story carries us along, bottles on the tide, each with our secret mesage and the fervent hope that it does not turn out to be blank.