Top 203 Storyline Quotes & Sayings - Page 4

Character is too deep to catch in a single storyline. What really moves us - what makes the great stories, and there aren't so many of them - is the inevitability of character. The destiny. All we see is the arc. We'll never penetrate the secrets of the living, let alone the dead. I've spent my whole life trying to understand people, and all I've learned is that the deeper we look, the greater the mystery. At the core, each person is unknowable. Maybe that's the soul? I have to respect that. The mystery, in fact, is what I've loved the most, in people and in stories as well.

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.'

We needed to do "Community Project" to feel comfortable doing our own thing, and then "That's It That's All" was this experiment with camera technology and shooting snowboarding a little differently. "Art of Flight" was that dream of "That's it That's All" realized. Then we didn't want to make an "Art of Flight 2," so we stepped back and tried to take a different approach to create a more multi-faceted film. "The Fourth Phase" has more of a storyline, and it was much more personal for me.

But after about a year praying, there was just this clear direction. The leadership team believed that God was leading us to focus on fatherhood. If God is leading, then God will provide. So we begin to get storyline ideas that lined up with the subject of fatherhood that we're working on and fitting, and we were thinking, okay this is good. At the same time, as we are studying scriptures and we're on our journey as fathers, we are learning about fatherhood every day.

I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one."

To the extent that our political dialogue is such where everything is under suspicion, everybody is corrupt and everybody is doing things for partisan reasons, and all of our institutions are full of malevolent actors - if that's the storyline that's being put out there by whatever party is out of power, then when a foreign government introduces that same argument with facts that are made up, voters who have been listening to that stuff for years, who have been getting that stuff every day from talk radio or other venues, they're going to believe it.

[John Musker] got me reading the mythology and we very early on we worked up a basic storyline centered around the character of Maui. He just seemed like a great character to kind of build a movie around. He's this mythic demi-god, bigger than life character. He pulled up islands with his magical fishhook. He slowed down the sun. He's Pan Pacific.

In early comics, you see the amazing awkwardness and bizarre reasoning in the storyline, and it's because comics hadn't really been invented yet. There was no format for them to follow. They were just making it up. So I try to incorporate that kind of awkwardness in my comics quite frequently, which is odd. In some ways, I can't be as awkward as I'd like. But I do think that's one way in which my comics are unusual, because I will try to make the artwork look bad, occasionally.

My hope is to see people of color in roles that do not emphasize race. Often times when movies are centered around people of color, they are movies where the storyline is based on some racial component. I want to see movies where people of color play more interesting, nuanced characters.

Zeus Is Dead is full of laugh-out-loud moments, lashings of sly wit, moan-worthy puns, and a complex, fast-paced storyline. There aren't very many humorous fantasy murder mysteries out there, especially not as intricately constructed as this one. Michael G. Munz takes a 'What if,' and runs with it like a toddler with Mom's smart phone. The guffaw-worthy throwaway bits will remind you of Douglas Adams. A very enjoyable read.

When you only do 10 episodes for a final season, every character and all of her interactions in every storyline have so much more import because it's the last time we're going to do it. It's been really helpful saying, "OK, where do we want each of these characters to end?" We have 10 episodes to do it and working backward from that, I kind of envy my friends who have always been on a cable network because this is really that great benefit of doing it this way.

'Death Sentence' really is a throwback to the '70s style revenge drama with moments of action. It's like a contemporary 'Death Wish' with a much more thriller style storyline, but the action scenes I shot very much in the style of '70s films like 'The French Connection.'

The worst thing that can happen is when you have gone weeks and months into elaborate sequences and the storyline of the film changes and you find out they don't need it. Sometimes you don't shoot those sequences, or they have been shot and then get edited out of the sequence you've shot gets changed and needs to be redone. That can be hard. It's not heartbreaking, but you do tend to think, "Och, all that work and effort." But that's filming, you know? You put all of these modular things into the pot, and sometimes they don't all get used.

The next time you look into the mirror, try to let go of the storyline that says you're too fat or too sallow, too ashy or too old, your eyes are too small or your nose too big; just look into the mirror and see your face. When the criticism drops away, what you will see then is just you, without judgment, and that is the first step towards transforming your experience of the world.

The other great thing about it, that seems to be the case in streaming, is that a lot more scripts are written before you start. Because they are planning on allowing it all up at one time, you have four or five scripts to read and an outline of where it's going to go. The writers aren't chasing their tails as much. You're able to see the beginning, middle and end of a storyline, and that is rare. Streaming allows that, in a way that network TV doesn't.

Flawless . . . Tightly choreographed . . . Shipstead gains entry into exclusive worlds and trains her opera glasses on private social rituals, as well as behind-the-scenes hanky panky . . . Similar to classic ballet, the power of Astonish Me arises out of the pairing of a melodramatic storyline with scrupulously executed range of movement . . . Shipstead sweeps you into this insider world of sweat, narcissism, and short-lived magic . . . Transcendent.

TV and film both attract me equally. In both, you do search for a role that would be enjoyable to do, that has a great storyline and then, secondly, you look at the cast and the crew - are they respectable? How I look at it is my character - has the character got enough substance? It can't just be a one faced character, which is there to fill a gap. He has to have a purpose, so if it ticks all of those boxes then generally it's a good choice.

I was very young, maybe five. The opera was very... I was attracted to opera to the point that I think it's the reason I started to write music for films. I never studied. There are film and music school that teach you how to write music. I never studied that. But the influence of opera, which is a combination of storyline, visuals, staging, plus music... that was perhaps the best school I could have had. That's what gave me the idea of coming to Hollywood to write music for films.

exemplar, n. It's always something we have to negotiate- the face that my parents are happy, and yours have never been. I have something to live up to, and if I fail, I still have a family to welcome me home. You have a storyline to rewrite, and a lack of faith that it can ever be done. You love my parents, I know. But you never get too close. You never truly believe there aren't bad secrets underneath.

I've done a nude scene and I felt it was appropriate to the storyline and I thought it was done in a respectful way and I felt comfortable doing it. But there are obviously going to be scenarios - not necessarily in this job, but in other jobs to come - where the question will be posed to me 'Will I want to do nude scenes?' and I would have to consider that as its own thing. And not just something to say yes to because I have done so before. It really is circumstantial.

In the egoic state, your sense of self, your identity, is derived from your thinking mind - in other words, what your mind tells you about yourself: the storyline of you, the memories, the expectations, all the thoughts that go through your head continuously and the emotions that reflect those thoughts. All those things make up your sense of self.

It was always said you couldn't have two sisters less alike. In a way [princess] Elizabeth was always internalizing everything and [princess] Margaret was always externalizing everything, so that became the basis. The storyline becomes about these two sisters: they're fighting for their position or trying to establish their identity in the world alongside each other and in relation to this establishment which only those two were a part of.

Cable is not a robot. The metal in his body is actually organic tissue. Ed and I have talked about this a lot. We liken it to a cancer that changes your body's cellular structure. Last time we saw him, his arm had been severed. It's back with a kind of force that will play a major role in this storyline. This is a battle inside Cable's body that he has waged since the first time he appeared.