Top 1200 Telling Your Story Quotes & Sayings - Page 19

There will always be storytelling, whether it's on the big silver screen, or it's your television or your iPhone or whatever, people will keep on telling stories.

I recall improvisational drummer and composer Michael Evans telling me a story of someone who had the opportunity to meet Cage and give him a record, and John Cage just smiled and said, "You know I have nothing to play this on?"

I realized that the good stories were affecting the organs of my body in various ways, and the really good ones were stimulating more than one organ. An effective story grabs your gut, tightens your throat, makes your heart race and your lungs pump, brings tears to your eyes or an explosion of laughter to your lips.

Trust the story ... the storyteller may dissemble and deceive, the story can't: the story can only ever be itself.

Lewis Carroll, you see, wasn't really interested in telling an exciting story. Well, he wasn't interested in things like cause and effect or a linear narrative. It's surreal, it's absurd, it's wordplay, it's satirical, it's analyzing itself, it's funny, it's an enormous challenge.

Actors can be many things - vain, venal, self-serving, obnoxious, bullies - but all of the good ones are great storytellers. I wanted to watch what my actors were doing and how they were telling the story.

I thought my story was over. But that was when I realised I finally had a story to tell - and it seems to remind people of their own story.

Whenever you're unhappy, your emotions are telling you that the people or things around you are not conforming to your vision of the world, or the way you think things should be.

When you look at what's written under the Statue of Liberty, it's the immigrant story. It's about 'bring me your tired, your poor, your huddled masses yearning to breathe free.' It's not about 'only bring me only your rich, your wealthy, your smart.'

It occurred to me that there was a story behind the scar -- maybe not as dramatic as the story of my wrists, but a story nonetheless -- and the fact that everyone had a story behind some mark on their inside or outside suddenly exhausted me, the gravity of all those untold pasts.

Everything, for me, is fueled off telling my story through music, because I have a lot to say, and it's some urgent things that I have to tell to the world, and help and heal. I know my part that I have to do through music.

I did make 'Stone Cold' Steve Austin the Million Dollar Champion on Raw. You know I saw the talent in Steve and I remember telling him - because a lot of people were telling him 'You need to do more' - I remember telling him, 'Don't do anything different, because what you do is believable, it's real.'

For me, 'risky' is revealing what really happened in my life through music. Risky is writing confessional songs and telling the true story about a person with enough details so everyone knows who that person is.

I think repetition is the hardest thing to avoid with sequels, because you've told a story and now you're adding more story to the story.

As I was telling my husb — As I was telling President Bush.

It's not easy to tell a story about writers and make that feel like a complete story and an interesting story.

And at that point, I think my experience in covering the subject helped me. I think editors felt comfortable with the idea of me telling this story because I had demonstrated that I know this business pretty well

Not telling is just as interesting as telling I have found. Why speech, that short verbal journey from inside to outside can be excrutiating under certain circumstances is fascinating.

Your success story is a bigger story than whatever you're trying to say on stage. Success makes life easier. It doesn't make living easier.

When you're telling stories, you are actually trying to illuminate some portion of the truth in an artful way. The story may immediately seem to be a lie, but it's like an impressionistic painting - you see the light and the color better than you would with a photo-realistic piece.

When thousands of people discover that their story is also someone else's story, they have the chance to write a new story together.

The telling of your stories is a revolutionary act.

I know when someone that's not you tries to tell your story, especially when you don't look like the person whose story you're trying to tell, you're going to screw it up. And the only way to get it right is to have them be as involved as possible.

I feel like any actor should always be thinking about how to serve the story. The thing to be cautious of is trying to make too much of your 'moment,' or whatever. The story is a lot bigger than you, and you're there to help it along.

This business can be very frustrating but there is success story after success story of people who take the bull by the horns. Actors who are frustrated ... [should] do your own project. Find a writer, shoot a movie. It can be done.

I think horror or science fiction is another way of telling a modern myth - it's like Ancient Greece; it's like kids couldn't wait for the next 'Orpheus' story, the next 'Jason and the Argonauts.'

You want to have a feeling when you sing that you just love singing; you love the feeling of singing, and you love this feeling of this voice coming out of your body into this world. It's about really getting that most beautiful, pure, centered tone, thinking about the story of each song and the lyrics, and connecting your own life to that story.

The story it told was unremarkable: a tale of love found and lost- the oldest story in the world. The only story.

Honestly, I don't focus on what my writing is called. I don't mean to sound artsy and pretentious, I just really can't think of things in that way. For me, the point is telling a story that keeps people up past bedtime, while hopefully exploring ideas that resonate.

If I have a hope, it's that God sat over the dark nothing and wrote you and me, specifically, into the story and put us in with the sunset and the rainstorm as though to say, “Enjoy your place in my story. The beauty of it means you matter, and you can create within it even as I have created you.”

My story was not a football story. My story was more about going against the odds of what life was handing me.

I have to go with what I do, and what I do has more to do with what people say to each other than telling a story through images. Of course, you're trying to do both. And there are some people who are brilliant at it, but I don't consider myself to be particularly good at it. My mind gets into a verbal mode.

I think the novel is not so much a literary genre, but a literary space, like a sea that is filled by many rivers. The novel receives streams of science, philosophy, poetry and contains all of these; it's not simply telling a story.

I can still remember the miraculous feeling of writing a sentence, then more sentences, telling a story. The first thing I wrote was a one-page summary of Robinson Crusoe and I am so sorry I do not have it any more; it was at that moment I became an author.

Crime fiction makes money. It may be harder for writers to get published, but crime is doing better than most of what we like to call CanLit. It's elementary, plot-driven, character-rich story-telling at its best.

If you write a story based on a real person, you're trapped by the details of the real person and his life. It gets in the way of writing your own story.

I really think that movies are the most popular form of story telling ever and have such a huge impact on culture when they do. So I really want to be a part of those movies that say something good to a lot of people.

I think going from doing TV and straight plays to Shakespeare is weird enough because you have this heightened language, and you are telling a story through metric poetry. But I think music is that place beyond poetry.

Dad and I did not care at all for your story in The New Yorker … [I]t does seem, dear, that this gloomy kind of story is what all you young people think about these days. Why don't you write something to cheer people up?

I've always known that I'll have a career for the rest of my life because they'll always make movies about men, and men need women in their lives. But, when it comes to telling a woman's story, they're complex, circular, and not genre-driven.

It's a universal story, it's an immigrant story, and it's a love story. In the United States, if you believe in yourself and you're determined and persevere, you're going to succeed.

Playing a flute is like writing a book. You're telling what's in your heart...It's easier to play if it's right from your heart. You get the tone, and the fingers will follow.

Characters who are absolutely sure about what they do, who plunge ahead without fear, are not that interesting. We don’t go through life that way. In reality, we have doubts just like everyone else. Bringing your Lead’s doubts to the surface in your plot pulls the reader deeper into the story, and this is an excellent way to coax the reader to lose himself in the story world you’re about to create.

We need more filmmakers of color telling the story. I'd like to see more filmmakers take their products out independently, put together a good commercial film and distribute it online.

When your story is ready for rewrite, cut it to the bone. Get rid of every ounce of excess fat. This is going to hurt; revising a story down to the bare essentials is always a little like murdering children, but it must be done.

You don't just go to your bosses and say, 'This sucks. I'm supposed to be winning everything.' If you have an awesome idea or a story, or something great, you go, 'Hey, how about we do this,' but when the story is not you, you have to find a way to make it work.

When you can state the theme of a story, when you can separate it from the story itself, then you can be sure the story is not a very good one.

If there was twenty ways of telling the truth and only one way of telling a lie, the Government would find it out. It's in the nature of governments to tell lies.

When a writer develops a story, he is confronted with a poison that is inside him. If you don't have that poison, your story will be boring and uninspired. It's like fugu: The flesh of the pufferfish is extremely tasty, but the roe, the liver, the heart can be lethally toxic.

I say 'spectacle' rather than 'story' because in the end, it isn't the intricacies of narrative that draw us to horror films. When it's there, I'm grateful for the director's skill at telling an exquisitely nuanced tale filled with psychological insight, but it is the spectacles that I take home with me.

He already knew he could coach. All you had to do was look at each of your players and ask yourself: What story does this guy wish someone would tell him about himself? And then you told the guy that story.

And at that point, I think my experience in covering the subject helped me. I think editors felt comfortable with the idea of me telling this story because I had demonstrated that I know this business pretty well.

I killed your friends.” – Abigail “And I’m not happy about that. But your head wasn’t screwed on right. It’s easy to let the enemies in and listen to them sometimes, especially when they’re pretending to be your best friends who only want the best for you. At least that’s what they claim. They’re insidious bastards, telling you what you want to hear and using your emotions to manipulate you think doing their bidding.” – Sundown

I've always had an interest in story-telling and history and just film and art in general, but particularly when it comes to storytelling, I think the reason why we became involved in film is because we wanted to get some great stories out there.

For every once upon a time there must be a story to follow, because if a story doesn't, something else will, and it might not be as harmless as a story.

I was thinking about the difference in voice between the different characters. Each voice has to be unique. Hypothetically you should be able to read each chapter without the heading that tells you who is telling the story.

Telling a true story about personal experience is not just a matter of being oneself, or even or finding oneself. It is also a matter of choosing oneself.

The incredible thing happens at the beginning of the story always, you notice, not the end. A Sherlock Holmes story is never a trick story.

You're not directing an actor toward a thing they can't achieve. Because direction is elusive. When directors hold respect for the various craftsmen and -women who are telling the story, it's the greatest result. I think people do their bravest work when given an elusive canvas.

Every once in a while, there comes a story. A story that blows your mind. One where you know you've made a difference. That's what makes it all worthwhile. That and the anticipation. It's addictive, because you never know when it will happen, but when it does, nothing in the world is as important.