Top 1200 Telling Your Story Quotes & Sayings - Page 20

I started in the theater world in New York City - and indie films - and I love the feeling of your head coming together and trying to tell a simple story, a small story, and just getting that vibe of storytelling without all the craziness of big budget.

I really believe that we all have the ability to come out of our story. But you have to tell your story first in order to come out of it.

The story is one that you and I will construct together in your memory. If the story means anything to you at all, then when you remember it afterward, think of it, not as something I created, but rather as something that we made together.

Being mentally tough is having to battle those demons and push yourself out of your comfort zone and force yourself to be the person that your mind is telling you you aren't.

For me, a story's a story if people want to hear it; it's very much based on oral storytelling. And for me, a story is a story when people give me the privilege of listening when I'm speaking it out loud.

The right way to enjoy 'Heavy Rain' is really to make one thing because it's going to be your story. It's going to be unique to you. It's really the story you decided to write.

A story is a way to say something that can't be said any other way, and it takes every word in the story to say what the meaning is. You tell a story because a statement would be inadequate. When anybody asks what a story is about, the only proper thing is to tell them to read the story. The meaning of fiction is not abstract meaning but experienced meaning.

If you work on network TV, they want to pick your casts, dictate your story and how your show works. It just becomes creativity by committee, which is never good.

The most fascinating thing for me is that 'Peter Pan' is a fairy tale, but now, this Filipino kid is a part of the folklore. Can you imagine telling the story of 'Sleeping Beauty' or 'Cinderella,' and all of a sudden there's a Filipino kid in there after all these years?

You can't just keep telling a story the same way over and over again. And I think it only helps the world to be more honest with young kids, to show them the world that they go walk outside and see.

It's amazing how flexible the human mind is in terms of jumping into a backstory or an aside. Vonnegut is a great example - it's not a linear story by any means, but somehow your brain is keeping it moving in one direction even though the story is taking you in all these different directions.

What is for sale, what is not? If we really think that making your apologies to your wife or reading a bedside story to your child are activities that we can pay a stranger to do, then, without moralising, what has happened to us?

As a Vietnamese refugee who became an American writer, I can tell you that you matter, that your sadness matters, the story of how you survived and triumphed matters. For every story that belongs to you, in time, belongs to America.

You read a script, you try and think through what is the best, most wide-ranging way of telling the story: who stylistically, character-logically, psychologically fits inside the world of what you're trying to do. A lot of it, when you're casting, is trying to get yourself in the head of a director.

Stories are our attempts to share our values & beliefs with the hopes that we may attract those who believe what we believe. This is the basis of forming a trusting relationship. Story telling, therefor, is only worthwhile when it tells what you stand for, not what you do.

Good writers know that crime is an entre into telling a greater story about character. Good crime writing holds up a mirror to the readers and reflects in a darker light the world in which they live.

In terms of directing a feature, I'd want the story to be right - you know, it's a year of your life, and you have to be focused on one thing, so I want it to be a story that I really, really care about and will enjoy making.

I have to say in premise 'Winter Journal' is really not a memoir. And I don't even think of it as an autobiography. I think of it as a literary composition - similar to music - composed of autobiographical fragments. I'm really not telling the story of my life in a coherent narrative form.

Wakolda or The German Doctor is a very intimate story. It is the story of a teenage girl and the way she falls in love with a monster. It is the story of a hunt and of a seduction.

Not a lot of people know this story but I actually got into the business without even telling anyone in my family. It was something I did on my own and I had been training for six to eight months before I told my dad and my step-dad.

Whether you work in news, sport, politics, whatever, it's exactly the same; a story is a story, is a story. I consider myself first and foremost a journalist.

Cinderella and the prince lived, they say, happily ever after, like two dolls in a museum case never bothered by diapers or dust, never arguing over the timing of an egg, never telling the same story twice.

Elrond's house was perfect, whether you liked food or sleep or story-telling or singing (or reading), or just sitting and thinking best, or a pleasant mixture of them all. Merely to be there was a cure for weariness. ... Evil things did not come into the secret valley of Rivendell.

It is my secrecy which makes you unhappy, my evasions, my silences. And so I have found a solution. Whenever you get desperate with my mysteries, my ambiguities, here is a set of Chinese puzzle boxes. You have always said that I was myself a Chinese puzzle box. When you are in the mood and I baffle your love of confidences, your love of openness, your love of sharing experiences, then open one of the boxes. And in it you will find a story, a story about me and my life. Do you like this idea? Do you think it will help us to live together?

I've had frustrated storytelling juices that have been lying dormant for a long time, and I guess the documentary was a way of me telling a story that I felt most qualified to tell. And I loved it, and I'd love to do something else someday, probably more narrative-based. But I'm in no rush.

Listen to your patient, he is telling you the diagnosis.

The best advice I've heard was from a lady in her 80s at my grandmother's 90th birthday. I was telling her how wonderful my children are. She said, "Don't forget your husband: you only borrow your children; your husband you'll have for ever."

I couldn't be happier teaming up to make the feature with a company as innovative as VICE. There is so much the world doesn't know about piracy in Somalia and the people involved, and I'm excited to be telling a story of piracy in Somalia from a different perspective.

I never want to make people upset, but sometimes we may. When I interview people, I try to make it clear that our obligation is to what we uncover and to telling that story and to presenting it fairly and making sure everyone has a say.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

I always have to remember that I am the narrator, but it doesn't have to be about me. A lot of songwriting is about trying to use what part of me is valid in telling the story. I don't want to overcook it, you know? Sometimes it seems that's really where the work is.

Joan Rivers telling Lauren Bacall her dress is all wrong is like Carrot Top telling Lenny Bruce he needs to get an edge.

When you make movies, you've picked the most expensive art form, and somebody has to pay for it. You kind of owe it to them to at least let them know how you expect to make it as accessible to as many people as you can, given the story you're telling.

I had always felt life first as a story: and if there is a story there is a story-teller

I don't actually see that much difference between telling stories in journalism and telling them on film. The tools are very different, but the basic idea is the same.

It's like everyone tells a story about themselves inside their own head. Always. All the time. That story makes you what you are. We build ourselves out of that story.

I think that in general - well, at least it's true for me - you tend to put something of yourself into the story as a whole. Not necessarily in any character, you understand. But you've got your own way of looking at the world, and that naturally will affect how you craft a story.

People don't give a damn about you and they don't give a damn about your story and they don't give a damn about your content. They only give a damn that you, your content, your story can bring value to them.

My music is just about story telling. I don't have much to say, and I'm not trying to change anyone's mind. I'm just singing through conviction about what I love and what I care about, starting with the very small.

When you’re focused outside and believe that your problem is caused by someone else, rather than by your attachment to the story you’re believing in the moment, then you are your own victim, and the situation appears to be hopeless.

When I look at jobs, one of the most relevant questions I ask is, 'Is this something I've done before, or is it a chance to experience a new context, tone and relationship?' I also ask if it's a story worth telling and a character with a reason to exist... someone who reflects the human condition.

Foreign novels are less action-oriented. They have a different pace; they’re more reflective. They challenge us to look for the story, find the story within the story.

Women especially are trained to protect other people's feelings, and a lot of that involves not telling the truth even about the fundamental details of your own experiences and your own life.

That’s how people live, by telling stories. What’s the first thing a kid says when he learns how to talk? “Tell me a story.” That’s how we understand who we are, where we come from. Stories are everything.

Art is so valuable that I think its misuse is really dangerous. When it's used well, when it's telling a story well or creating representation or visibility for something that's really lacking, it can really save lives.

I was seven years old when 'Creepshow' came out, and I'm guessing I was around 10 when I saw it for the first time on VHS. The opening theme reminds me that there are five stories to be told, all so different, and the process of telling a scary story is a dark, glorious trip.

You have to think of your brand as a kind of myth. A myth is a compelling story that is archetypal, if you know the teachings of Carl Jung. It has to have emotional content and all the themes of a great story: mystery, magic, adventure, intrigue, conflicts, contradiction, paradox.

I need to keep my story count high. I'm trying to get as many stories in my hour as is humanly possible. We're telling more stories in our hour than any national newscast has in the history of this business, I think.

One of the things I want to do with 'Desi Rascals' is go a bit deeper into the characters and their family lives and have a bit more heart and a bit more inter-generational story-telling, so it's not all about young people.

My favourite authors are Jeffrey Archer, for his story telling skills; John Grisham, for the completely new genre he created; and James Patterson, for the way he created a new business model out of writing.

The factors that laid low so whooping and puissant an empire as the old Hollywood are many. I can think of a score, including the barbarian hordes of Television. But there is one that stands out for me in the post-mortem.... The factor had to do with the basis of movie-making: 'Who shall be in charge of telling the story.'

I couldn't have articulated this process at the time; I just sort of did it instinctually. But now when I talk about this with my students all the time, it's one of the first things I address in memoir classes - that you have to put it all in because you're writing your way into the ending of your own story. Even if you think you know what the story is, you don't until you write it. If you start leaving things out you could leave out vital organs and not know it.

If you keep having to dip into the story's past to explain the present, then there's a good chance your real story's in the past, and you're just using the present as a vehicle to deliver us there.

The mystery story is two stories in one: the story of what happened and the story of what appeared to happen.

Writing and directing, to me, was the logical evolution from my life as an actor: going from telling someone else's story to actually creating my own. Perhaps one day I will do all three: write, direct, and act in the same production. That might get a little hectic, though.

Don't worry about telling your actor what to do.

I remember telling the 'Tangled' crew about grimace moments: how when you watch a movie that you worked on and you think, 'Ah, I wish we could have done that scene better,' or, 'I wish that we'd had the time or the money to fix that particular story problem.'

Above all, good leaders are open. They go up, down, and around their organization to reach people. They don't stick to the established channels. They're informal. They're straight with people. They make a religion out of being accessible. They never get bored telling their story.

Everywhere I go - from villages outside Kandy, Sri Lanka, to community centers in Amman, Jordan, to offices at the State Department in Washington, D.C. - I find people with a similar story. When thousands of people discover that their story is also someone else's story, they have the chance to write a new story together.

I started moving into online work, and that exposed me to design and the impact it has on the flow, shape, and narrative of the story. This got me thinking that maybe this is a way of doing journalism, a way of telling stories and revealing patterns.