Top 1200 Story Quotes & Sayings - Page 16

I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.

The food of a country is my story. It is a small story, but people relate so much to it. I want to share that, but also the idea of bringing people and family together.

Film 'This Changes Everything' is not a sad story. It's not a slit-your-wrists climate film. It's a story about people who are making change happen.

I'm an expert on the NewsHour and it isn't how I practice journalism. I am not involved in the story. I serve only as a reporter or someone asking questions. I am not the story.

I don't want to steal anybody's story. I very much want to use the stories that I hear to get lost in my mind, to tell a larger story.

You can't sensationalize a story that is a heartfelt story.

The passion for the story is the wind in your narrative sails. Begin at the heart. We must hear the heartbeat of the story. Love your characters into existence.

What's so great about television. You're able to tell a long story, where you couldn't really do that in a film because you have to tell a story in an hour and a half or two hours.

I've been in movement work since I was 16 years old. Black Lives Matter becomes an important part of the story, but it's not the only part of the story.

Having a story is what people connect with, but the story alone doesn't allow you to achieve greatness and results. It's the day-to-day consistency of providing value to your audience.

God is the very first piece of the Christian Story because the Story is all about Him. He is the central character, not us. The Story is not so much about God's plan for our lives as it is about our lives for God's plan.

I think, as writers, our first responsibility is to writing an honest story. Tell the story you want to tell, without pulling your punches.

I need to tell a story. It's an obsession. Each story is a seed inside of me that starts to grow and grow, like a tumor, and I have to deal with it sooner or later.

A film like 'Dangal' is universal; though it narrates a story that happened in Punjab/Haryana, we like its inspirational story and its idea of celebrating the girl child.

There's a universal inside of me. So if I tell my story, you're going to see parts of your story in it. I don't know which parts, but we all overlap. We're all very much alike.

I always like story songs, Dolly Parton, Tom T. Hall, Mel Tillis, Red Stegall, when they'd do their story songs. I was totally enthralled.

You have to figure out who the right person is to tell the story. And often, people who are very self-aware will only sound as if they are pontificating if they tell the story.

Before a man's forty, girls cost nothing. After that you have to pay money, or tell a story. Of the two, it's the story that hurts most. Anyway I'm not forty yet.

In terms of writing characters or stories, at least initially, there's no difference between live-action and animation. A good story is a good story, whatever the medium.

I just want to be told a story, and I want to believe I'm living that story, and I don't give a thought to influences or method or any other writerly concerns.

A story is a kind of biopsy of human life. A story is both local, specific, small, and deep, in a kind of penetrating, layered, and revealing way.

There's a story everywhere. Being bored to death someplace is basically a funny proposition. What you have to watch out for is you don't write a boring story about a boring place.

I really like narrative songs, but I wonder if that's a thing for some people. Once they've heard the story, do they really need to hear the story again?

The average detective story is probably no worse than the average novel, but you never see the average novel. It doesn't get published. The average -- or only slightly above average -- detective story does.... Whereas the good novel is not at all the same kind of book as the bad novel. It is about entirely different things. But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way.

BoJack' is a very much a format-based show. The story should always match the format, but I don't necessarily think the story has to come first.

My story has been the story of my generation.

Occasionally, I have written about stories related to crime, but I have never attempted a traditional detective story. So I want to write a true detective story.

The moment you start dictating content/themes/story vs. allowing the player to be a participant in the story and carve their own path, you're doing the player a disservice.

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.

I'm big on story structure. I studied with John Truby, who mapped out story by means of moral wants and needs, and that's what I do. Hey, so does John Irving.

I wanted to make a black story about South Africa. Unfortunately, no producer in the United States would put one penny into a black story.

On the one hand I wonder, Was this really my story to tell? On the other hand, I just wanted the story to be told. But the truth is that I didn't think anybody was going to read it.

Trouble, hardship, difficulty, pain, suffering, conflict, tragedy, evil - they're all part of the [Christian] Story. Indeed, the problem of evil is the reason there's any Story at all.

Men Against Jive is a brilliant title! That's a military story, that's a difficult one to explain really because that's sort of a war... it's not just a war story.

I just want to be told a story, and I want to believe I'm living that story, and I don't give a thought to influences or method or any other writerly concerns

Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.

If you create a good story that has a lot of story value... I think audiences like that. It's why they stick with the same TV show over and over.

Well, I don't ever leave out details, in that I don't come up with information or description which I don't then use. I only ever come up with what seems to me absolutely essential to make the story work. I'm not usually an overwriter. As I revise, it's usually a matter of adding in as much vivid details as seem necessary to make the story come clear without slowing down the momentum of the story.

In a romance novel, the core story is the developing relationship between a man and a woman. The other events in the story line, though important, are secondary to that relationship.

If you come face to face with some really challenging situations and tragic circumstances - you are going in there with a purpose. You are not going in there as a tourist. You're not going there just to merely observe. You have a purpose, and your purpose is to tell that story, to share that story for the bigger benefit of millions of other people. Your purpose is to create that bridge so you can give that story the dignity and the focus that it deserves, and you can become a part of the amplification that needs to be there.

That experience of losing home, longing for home, that yearning for meaning and rootedness and identity in a floating world, it's what often makes an immigrant story into an American story .

I love musicals and music driven films, and my first instinct is to tell the story. And when music is a big part of the action I can literally make the story sing!

I always wanted to do a story on the blues that not only reflected its nature and its content, but also alludes to the form itself…In short, a story that gives you the impression of the blues.

The story of one person is the story of all of humanity.

You need a story to displace a story.

Usually at the end of each story we're thrown clear out of the story's world and then we're given a new world to enter. What's unique about a linked collection is that it can deliver both sets of narrative pleasures - the novel's long immersion into character-world and the story anthology's energetic (and mortal) brevity - the linked collection is unique in its ability to be both abrupt and longitudinal simultaneously.

If you create a good story that has a lot of story value I think audiences like that. It's why they stick with the same TV show over and over.

A good story remains a good story, whether it is on glossy paper or a mobile phone display, is carved into marble tablets or appears as a Bild headline.

The music takes on all different jobs and hopefully is part of telling the story. Each song has to be a story unto itself. It's a very different set of muscles.

The story of U.S. policy during the genocide in Rwanda is not a story of willful complicity with evil. U.S. officials did not sit around and conspire to allow genocide to happen.

I always take a story that's kind of out there, like an urban myth. I take some possibility that people imagine, that they are familiar with, and try to turn it into a story.

The truth is, you have about three paragraphs in a short story, three pages in a novel, to capture that editor's attention enough for her to finish your story.

Studying psychology is fun because you're always looking for the same things I think a writer should be looking for, which is the story behind the story.

That's what's so great about television. You're able to tell this long story, where you couldn't really do that in a film because you have to tell a story in an hour and a half or two hours.

The short story can't really hold an interesting event. It can't hold a death or a war or a loss of great magnitude the way either a long story or a novel can.

We all have a story, and I wouldn't trade my story for anything.

I feel I have a responsibility to carry out the immigrant story, since it's one that I hold very dear to my heart, since my story is similar in a lot of ways.

What I may intend for a story to communicate and what a story ends up communicating could be two different things. And it could be an even more positive thing.

I can't tell a story just by deciding to tell a story, do it in a didactic way. I need to have my own emotion, to feel, 'Wow, there is something I can discover, I can create.'

But every day I tell my story, and be comfortable with my story and be comfortable with what I've done, and what I did, and how I am today, it lessens the likelihood it will ever happen.