Top 1200 Storytelling Quotes & Sayings - Page 20

I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.

Reading is like breathing in and writing is like breathing out, and storytelling is what links both: it is the soul of literacy. The most powerful tool that we have to strengthen literacy is often the most underused and overlooked, and that is a child's own stories.

I feel like success to me is about feeling like I have done something in storytelling, where I've gotten close to articulating something intangible that I'm feeling, and I think I get closer every time, but I don't know that I've done that yet.

My concern 99% is about the storytelling, the emotion and all this. I never think about the format of anything until way far in the process and when we arrive to the fabrication of the thing then we start to say, "Okay right, what is the best thing we can do." I choose the car before to choose the color.

Films used to be an event that required work and effort to get to a theater to see. Now, really good content is available immediately to us on many devices. At the same time, the audience's appetite for storytelling is evolving, and people want to spend time with characters for many years.

A Crime So Monstrous is a remarkably brave and unflinching piece of reportage and storytelling. Ben Skinner bears witness, sharing stories so unsettling, so neglected, so chilling they will leave you shaking with anger. This should be required reading for policy makers around the world - and, for that matter, anyone concerned about the human condition.

If I were writing an article for the newspaper, it would be thesis statement, information, information, supporting arguments. That would be the setup. When I'm making a documentary, the pacing of the film and the way that you sort of switch from character to character - all of those are more about storytelling than straight journalism.

All the stuff I love most in game storytelling is never the big-picture stuff; it's the stuff that feels like curlicues, stuff that's just there because it's a game and because you can do it.

That's just how I see things on a base level: there's so much going on. Or at least I like to have that feeling. It's part of being interested in notions of reality apart from storytelling. I don't know if it has something to do with having an art school education, which makes you aware of the way visuals speak, or makes you trust them more.

I think change is happening in ways we can't anticipate yet because the whole generation of viewers who are viewing films - film may not be the appropriate word in years to come. I'm excited about the possibility of new types of storytelling; that to me is less daunting. I'm excited by how we'll evolve with those formats thematically, tonally and in narrative.

The ways in which a standardized language test induces storytelling, for example, is the opposite of creative writing; you have to learn a logical way to start a story, whereas in creative writing you may begin at the end or begin at the middle of the story.

I am thankful to those who've listened to my story over and over as well as those who've helped me share it. For me, the act of storytelling is an act of healing.

There was a gap in minority heroes in animation, books, and storytelling for me as a kid, and being a father now, I felt the responsibility I had to the next generation to create stories that allow us to wish and dream and build worlds that inspire young people who haven't traditionally had these heroes to look up to.

If you're sitting in your minivan, playing your computer animated films for your children in the back seat, is it the animation that's entertaining you as you drive and listen? No, it's the storytelling. That's why we put so much importance on story. No amount of great animation will save a bad story.

A big part of directing animation is deciding what you really want to do and making sure it's about something. My favorite thing about animation is the storytelling. You can really dig into the story and spend time with the writers. The writers don't just write and leave.

I'm not sure I would make a direct connection between having press attention as a young person and being interested in the media as an older person. I came to it more organically, coming from a family of Irish Catholic storytellers. Storytelling is a pastime and important part of my family's history and culture.

Donald Trump, having spent decades in the public eye as an entertainer, may not understand what the nuclear triad is, or what America's 'first use' nuclear policy is, or why starting a trade war would be a disaster. But he does understand storytelling, the power of a clear narrative, and the importance of stirring emotion.

I was desperately unhappy with it [Blade Runner]. I was compelled by contract to record five or six different versions of the narration, each of which was found wanting on a storytelling basis. The final version was something that I was completely unhappy with. The movie obviously has a very strong following, but it could have been more than a cult picture.

Before Gutenberg, there was this really very strong oral storytelling culture where being able to relay stories from person to person was sufficient. And then, with the introduction of printing and mass communication, suddenly somebody had a lot of authority invested in the idea of a single canonical expression of a document or a piece of communication.

That film, I mean "The shining" got me thinking about the way of telling stories and how effective it can be and how it can really shape people and move people to such a degree. It got me questioning storytelling.

There's been a great development with scale on TV, but my approach is always the same across projects, whether it's a video game, a movie, or a TV show: I always try to set up my sounds and my themes. I really try to stay with the characters and do the storytelling through the music.

The only thing I would want to say is that storytelling is ancient; it's something that everybody does. Kids mustn't be in awe of it. Reading should be a joy - fun, fun, fun - not a responsibility, not something you do because society demands it, but something you do because it's a pleasure.

I just loved storytelling. That's what I thought I would end up doing. I thought I would probably go to school and end up writing for a magazine or something.

Minimalism seems closest to the sophisticated storytelling of movies. Movies have really educated contemporary audiences to be the most intelligent, sophisticated audiences in history. We don't any longer need to have the relationship between one scene and the next explained. We will figure it out ourselves.

The music that I first fell in love with was American music, really. Nothing against British acts - I love them and will forever - but on the whole, it was the art of American storytelling in the kind of folk and blues lyrics that, if you scratch a little bit, there's a heartbreaking story there.

I grew up as a fifth-generation Jew in the American South, at the confluence of two great storytelling traditions. After graduating from Yale in the 1980s, I moved to Japan. For young adventure seekers like myself, the white-hot Japanese miracle held a similar appeal as Russia in 1920s or Paris in the 1950s.

Graphic novels might really speak to one child who's struggling with the other kinds of reading and might help them discover that storytelling is joyful and personal and illuminating. They might find your way in auditorily by listening to audio books in the car instead of playing Game Boys or watching DVDs.

Glen Hirshberg's stories are haunting, absolutely, but not only because of the content -- the stories themselves haunt, they stick around, they linger, inhabiting a little corner of the reader's brain and resurfacing to evoke mystery or sadness or longing. It's a pleasure to dive into Hirshberg's storytelling skills in American Morons.

I think of myself as a storytelling, and one of the reasons why people have held my stuff close to them is because it's one thing to draw pretty pictures, and it's another thing to create a story. That's what I've always done, whether it be for advertising clients or commercial clients or comic books. My hand is in there, and I am the storyteller.

When I was in advertising, I did a great deal of work on television commercials. A co-worker and I wrote a screenplay, which led to a few more screenplays, and some were optioned by production companies. I was advised to move to California but didn't want to make the move. I decided to use another form of storytelling, so I wrote a novel.

Much as my Boomer friends will hate me for saying this, Kanye West is the New Dylan. Not only do Kanye's best lyrics match Dylan's prescience, highly inventive word-play and genius for storytelling, his indefatigable cockiness eerily channels Muhammad Ali.

I am a perfectly normal woman. If what we do is storytelling and represent people that we see all day and every day, well, we do not see supermodels all day and every day.

My interest in Virtual Reality (VR) films began for me when I began a fellowship with MIT's Open Documentary Lab. It was a profound experience to be on MIT's campus one day a week and to enter a new world of storytelling where breaking convention and traditional methods were expected. This was deeply challenging and inspiring.

I don't think 'Call Of Duty: Black Ops' sells 25 million plus copies and makes of a billion dollars because of their great storytelling. It's the multiplayer aspect of that type of game, where people get together to shoot each other and have fun. And it's very much gameplay; it's like 'Gran Turismo' or one of these racing games.

I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.

Directing plays lacked the immediacy and connection to real world events that journalism offered; journalism lacked the drama, theatricality and subjective storytelling of theater. It wasn't until I had the idea of making a documentary film about the 1992 presidential campaign that these two passions came together in 'The War Room.'

In the end, it's about the reality. You want something that's believable in the performances; you want something that's believable in the storytelling, in the writing. You just want to connect to something that you feel is real.

As a writer, Chris Columbus was a big influence. 'The Goonies' was the first movie I ever saw that kids speak normally and not imagined how kids would talk. Always a big fan of Chris Columbus' dialogue and storytelling.

I'm not interested in gothic storytelling or the horrific for its own sake. I'm always interested in it as a way of getting at larger ideas or important meaning. And you don't see that as much as you'd think in the history of horror cinema. A lot of times, it's scariness for scariness' own sake.

There are a number of times when we have found, there's a number of old-school special effects in here that are fantastic, but there are definitely some times that we went digital and you're not going to tell the difference, I don't think. I think it just serves the storytelling because that's just the era that we live in.

Storytelling enables us to play out decisions before we make them, to plan routes before we take them, to work out the campaign before we start the war, to rehearse the phrases we're going to use to please or placate our wives and husbands.

People have been saying the novel is dead for as far back as I can remember. The novel will never die, but it will keep changing and evolving and taking different shapes. Storytelling, which is the basis of the novel, has always existed and always will.

When we talk about LGBT characters on TV we're talking about the entire rainbow, and that includes trans people, and that includes non-binary people, people of color, women, differently-abled people. There is so much opportunity for storytelling there, and I hope that we continue to see more of that.

I think that at the end of the day I'm drawn to a certain level of ambiguous storytelling that requires hard thought and work in the same way that the New York Times crossword puzzle does: Sometimes you just want to put it down or throw it out the window, but there's a real rewarding sense if you feel like you've cracked it.

There's no reason my films can't work as hard as VR does to hook an audience and never let them go, so I think that that it turns the volume up a little bit on storytelling. The same way when I was doing commercials and then I went and shot 'Go,' and 'Go' has a level of pace that is unlike any of my other movies.

And it's only the beginning of a new era of exceptional Star Wars storytelling; next year we'll release our first standalone movie based on these characters, followed by Star Wars: Episode VIII in 2017, and we'll finish this trilogy with Episode IX in 2019.

I am always telling students that a story is not just words. You can tell a story with dance or paint or music. Kids and adults are visual learners, auditory learners. There are those of us who need to touch it. Storytelling encompasses so much more than words on paper.

Telling stories and having them received is so important. That dialogue is everything. I tell my students all the time that what separates us as human beings is our ability to hold stories. Our narrative history. There is so much power in that. Storytelling is our human industry.

When a character has as wide an audience and as rich a history as Batman, it's truly exciting to see him introduced into an all-new storytelling medium. BATMAN LIVE will bring a completely new experience to fans of the character - it's great to be able to give them something they haven't seen before.

I think that the idea of boundaries is being challenged everywhere. And I think our fascination with sci-fi is that it is a boundary-less world where we can kind of create the reality that we believe to be as opposed to the reality that is. It is about the beyond and the unknown in a different way than pretty much any type of storytelling is.

Some of the most successful, talented actresses of our generation, be it Julianne Moore, or Charlize Theron, or Charlotte Gainsbourg, or Isabella Rossellini, if you know your cinema history, have taken their clothes off. There's nothing wrong with nudity, per se, if it's part of the storytelling and it's eloquent and it says something about the raw humanity of the story.

I think 'GoodFellas' is just a perfect film. From an efficiency of storytelling standpoint, from an entertainment standpoint, from a performance standpoint, from a use of music standpoint, from a cinematography and editing standpoint - to me, it's just a perfect movie.

Storytelling is a universal: every culture does it. There's a reason our religious books aren't simply a list of shall-and-shall-nots. Morals and teachings are contained in stories, which are studied, dissected, and passed down; we remember stories in a way we don't remember lists of facts.

One of my favorite things, as a critic, was finding books by new writers who possessed a distinctive voice and vision, an inventive gift for storytelling. I also loved immersing myself in works of nonfiction that taught me something about the world, that made the past come alive or shed light on hidden corners of history or the news.

I remember how as I kid I would love stories of every kind - whether they were narrated in school or what I read in books. Storytelling would always appeal to me, I would take part in poetry reciting, dramatics, choreography and debates. There was this fascination for performance, which finally culminated in a professional sphere.

I think that, at the end of the day, I'm drawn to a certain level of ambiguous storytelling that requires hard thought and work in the same way that the 'New York Times' crossword puzzle does: Sometimes you just want to put it down or throw it out the window, but there's a real rewarding sense if you feel like you've cracked it.

'St. Elmo's Fire' is one of my favorite films. I like the storytelling of those teenage American films. You don't get that now. Teenage American movies are all about sick jokes, puking a lot, arse jokes.

Humanity's legacy of stories and storytelling is the most precious we have. All wisdom is in our stories and songs. A story is how we construct our experiences. At the very simplest, it can be: 'He/she was born, lived, died.' Probably that is the template of our stories - a beginning, middle, and end. This structure is in our minds.

My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.

What I realized is that it doesn't matter how big or small your film is. The actual filmmaking process, the actual storytelling, it's still the same thing. It's still all about creating characters that you like and creating moments that get you excited or get you tense.