Top 1200 Toy Story 3 Quotes & Sayings - Page 16

It defies common sense that stores are fined for selling toy guns to children, but someone who isn't even allowed to board an airplane in this country can purchase as many real guns he wants with no questions asked.

When you stand and share your story in an empowering way, your story will heal you and your story will heal somebody else.

I do have screenplays I've written that never saw the light of day, but I don't usually go back to them. When I've told a story, I want to tell another story.

The thing about games is, players often say they don't care about story, but then if you took the story out, what would their reaction be? If no one cared about story, we'd all still be playing Pac-Man. There's nothing wrong with Pac-Man, but the point is, there's a genre of games in which you want to become part of that world.

You're not allowed to park a truck in your driveway. You're not allowed to work on your house on Sunday. The people who enforce these laws are nuts. After I wrote a column on this, I got I don't know how many letters from Coral Gables homeowners, story after story after story, wonderfully horrible stories. And the venom they felt for their own government!

I think it has most to do with the way in which a story is told, whether it feels real either via the music of the telling or the 'honesty' of the story.

Respect is one of the greatest expressions of love. If other people try to write your story, it means they don't respect you. They consider that you're not a good artist who can write your own story, even though you were born to write your own story.

I'd waste a holiday trying to set a story in this new place I'd visit, whereas I would never write a story about Indianapolis.

I hardly ever think about audience. I just try to tell a story for me. I write the kind of story I would like to read.

Well, there are conjoined twins in real life and we can tell a story about them so long as they're not the brunt of the jokes. In this, they're the heroes of this story; we love these guys.

Any carefully planned thing destroys the creativity. You can't think your way through a story; you have to live it. So, you don't build a story; you allow it to explode.

I used to be a good story writer. I could make up a story with like, eight people in it and tell you where they all lived, what color their houses are.

Nietzsche said that everyone tells themselves the story of their life. That's true about countries, too. We're constantly telling ourselves the American story.

I have picked 'mainstream' films only because there is a story, and there are lovely people attached to it. That's a conscious decision always for me. What's the point if there is no story to tell?

Tell the story as if it were only of interest to the small circle of your characters, of which you may be one. There is no other way to put life into the story.

I collect robots. They're mainly Japanese, American, and especially Russian - small robots, big robots, and old toy robots made between 1910 and the Fifties.

So who is Jesus? For me, he's the central character in the greatest story ever told. It's a story about a gradually realizing kingdom that lies inside of us.

Other than a short article I read in 2008 when the real story broke, I have not followed the Clark Rockefeller case, and 'Schroder' is not a novelization of that story.

I said to my team, 'I'm doing 'Gilmore Girls' no matter what. There's no way I'll miss it,' because I owed it to the story. The story is bigger than the sum of its parts.

I'd love to do a love story. I've never done a true love story, which would be awesome. But then again, I don't think I've had a true love story, even in my own life. Maybe that's something I want to explore in my own life first.

Generation Alpha has very different expectations for the entire world. Everything that's going to happen in their lives needs to be visual, on demand, adaptive, in demand, and we have to find a way to embed that into our toy experiences.

I'll picture Rat Kiley face, his grief, and I'll think, You dumb cooze. Because she wasn't listening. It wasn't a war story. It was a love story.

My story is the story of countless millions of children whose families and nations were torn apart for money in the name of Jesus Christ.

Once you call something a story, it's set in stone. It has a beginning, a middle, and an end that can't be transformed, because by definition, if you do that, it's not the same story anymore

Sometimes, in a fictional story, you can be more honest and truthful, actually. As a journalist, you're a prisoner of the data, in effect. You have to tell the story with evidence you can verify.

I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.

Disruption is in my genes. My father owned one of the first discount toy stores, Duane's Toyland, in Albany and Schenectady, near where I grew up. Discount was always a huge disruptor - it disrupted Sears Roebuck.

Around '93, '94, the conventional wisdom about the Internet was that it was a toy for academics and researchers. So it was very, very underestimated for about two years.

Most people who read the autobiography perceive the narrative as a story that now millions of people know, and it was - it's a story of human transformation, the powerful epiphany, Malcolm's X journey to Mecca, his renunciation of the Nation of Islam's racial separatism, his embrace of universal humanity, of humanism that was articulated through Sunni Islam. Well, that's the story everybody knows.

I don't know what makes a good feature story. I've always assumed that if it was a story that interested or amused me, that it would have the same impact on other people.

Music was like my first real toy. I was an only child for a while, and I was alone a lot of the time - and I liked it. I still like being alone.

I think a lot of creators are attracted to those toys they got to play with when they were young, and everyone wants to write a Superman story or a Batman story or a Spider-Man story. I don't know, if it's been successful for me, it should be successful for anyone. "Hit the ground with your feet running" is the secret of breaking new characters when it seems like no one else is having any luck.

I think that the audience is smart enough to know that just because a drama is relating to real-world parallels, it doesn't mean that its story is exactly that story.

To me, a great story well told is a great story well told, and just because the protagonist is a young adult doesn't mean that story has less merit or worth than if the protagonist is a full-grown adult.

In early 1999, I was watching TV, when I came across a story on Afghanistan. It was a story about the Taliban and the restrictions they were imposing on the Afghan people, most notably women. At some point in the story, there was a casual reference to them having banned the game of kite fighting. This detail struck a personal chord with me, as I had grown up in Kabul flying kite with my friends.

When we believe in our thoughts, when we tell ourselves a story, we suffer. 'My husband doesn't respect me.' 'I should be thinner.' Those are stories. When there's no story, there's no suffering.

'Olive Kitteridge' is a masterpiece: The writing is so perfect you don't even notice it; the story is so vivid it's less like reading a story than experiencing it firsthand.

To me any given story has its appropriate form. There might be some story I get involved with that's begging to be a graphic novel, so that will have to be that way.

The fact that somebody's telling you a story about people who didn't exist doesn't make the experience of the story any less real in your heart and mind.

If it is a fantasy fiction, and you want to portray a story of a vampire, you have to keep the essence of the story same. But if you have to have five episodes a week, where do we get so much content from?

'180' is a romantic film, but I don't think it can be classified as a fluffy love story. It is a wonderful story with a script that is layered and more complex than the normal ones.

Olive Kitteridge' is a masterpiece: The writing is so perfect you don't even notice it; the story is so vivid it's less like reading a story than experiencing it firsthand.

This is the story of the curse and the kiss, the demon and the girl. It's a love story with dancing and death in it, and singing and souls and shadows reeled out on kite strings.

There can be little doubt that in many ways the story of bridge building is the story of civilisation. By it we can readily measure an important part of a people's progress.

Narrative drives most of economics. Everything seems to be part of a story, and how that story is told often leads to critical error.

As an actor, you tell part of a story. As a writer, you get more of telling that story. But as a director, they're seeing the world through your eyes.

In the thousands of stories I've collected over the years there are people who just want to know that their story matters, that their story isn't beyond hope. And people, no matter how broken a story I might read, I have always found at least a glimpse of God's hand still at work in each and every story. I have been powerfully reminded that God is in the junkyard business. He willingly walks into the messiest parts of our lives, gets his hands dirty, and begins building something beautiful out of that very thing which the world might overlook as worthless.

The story of John Nash is an amazing, powerful journey. But as unique as this man is, his story is also very accessible because it is so heartbreakingly human.

Every movie requires its own style. Just be honest to the story. Tell the story in the best possible way that is different, exciting and original.

Every woman who appears wrestles with the forces that would have her disappear. She struggles with the forces that would tell her story for her, or write her out of the story ... The ability to tell your own story, in words or images, is already a victory, already a revolt.

A story does that: it will reach out and hook somebody and hold them for just a few moments while you unpack this story in their presence.

At Home in the World is the story of a young woman, raised in some difficult circumstances, and how she survives. It tells a story of redemption, not victimhood.

History is a story like any other, but black history is a story so devoid of logic that it frustrates the young reader. The young readers in my house, told of slavery and segregation, asked in disbelief, 'What? Why?' We - the parents of black children, the parents of all children - still need to tell that story.

I didn't want to tell the story of what makes two people come together, although that's a theme of great power and universality. I wanted to find out what it takes for two people to stay together for fifty years -- or more. I wanted to tell not the story of courtship, but the story of marriage.

'The Virginian' has a very important romantic story line that you don't find in a lot of Westerns... At the heart of the story is quite a bit of pain and a sense of loss.

Writing fulfils an insatiable drive. Finishing the story satisfies my thirst. But I must keep drinking until the story quenches a buyer.

Like most writers, I sit in a room and scribble a story and you don't have a connection with the people who take your story, whether it be to the stage or to the screen.

Budget grows out of the story. If you're writing a story with people caught in an elevator for most of the film, you're pretty sure it won't be a $200 million movie.

The elements of a good story are most definitely details, little bitty details. That does it, especially when you're describing, when you're setting the scene and everything. It's like you're painting a picture, so details are very important. Also, the music gotta be right. The music can really set the tone for the story and let you know what the story is gonna be about, but definitely, it's the vibe in the place where you at and the detail.

Some photographs are like a Chekhov short story or a Maupassant story. They're quick things and there's a whole world in them. But one is unconscious of it while shooting.