Top 1200 Toy Story 3 Quotes & Sayings - Page 19

The devadasis have a multilayered story, a story in which poverty, deprivation and injustice against women is central - but what has happened to them is absolutely an outcome of imperialism and the impact of British rule in India.

When my own son was 12, we didn't want toy guns in the house. So he just picked up a stick and went, 'Bam! Bam! Bam!' That's the testosterone of a 12-year-old boy.

My [story] outlines are usually about 5-6 pages long. I'm essentially telling myself the story in short form. I try to make it clear who the major characters are, what they want, and what obstacles they face.

'A Tree Grows in Brooklyn' by Betty Smith is one of my favorites. Even though it doesn't have any monsters or crazy fantasy in it, it's such a raw story, and I can really relate to the characters. I think it's a beautiful story.

Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.

You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it's going to be about something and it does the opposite.

No ancient story, not even Homer's Iliad or Odyssey, has remained as popular through the course of time. The story of Rama appears as old as civilization and has a fresh appeal for every generation.

With me, a story usually begins with a single idea or mental picture. The writing of the story is simply a matter of working up to that moment, to explain why it happened or what caused it to follow.

The story of the Zen Master whose only response was always "Is that so?" shows the good that comes through inner nonresistance to events, that is to say, being at one with what happens. The story of the man whose comment was invariably a laconic "Maybe" illustrates the wisdom of nonjudgment, and the story of the ring points to the fact of impermanence which, when recognized, leads to nonattachment. Nonresistance, nonjudgement, and nonattachment are the three aspects of true freedom and enlightened living.

We who make stories know that we tell lies for a living. But they are good lies that say true things, and we owe it to our readers to build them as best we can. Because somewhere out there is someone who needs that story. Someone who will grow up with a different landscape, who without that story will be a different person. And who with that story may have hope, or wisdom, or kindness, or comfort. And that is why we write.

The "I've tried everything" story ensures failure. You must create an empowering story that recognizes that everyone has failed a lot but successful people have found a way to rebound until they succeed.

Honestly, I expected to get a cold reception because of my subject matter. But when editors took a look at the story I had to tell, and saw that this was not a parochial story at all, they really warmed to it

America's story is largely an immigrant story. That hasn't changed since the Pilgrims ate their first turkey some four hundred years ago, and they were the original boat people.

Boys are easy. I mean, there are just a lot of bruises when they're young. With boys, you get a lot of accidental jabs in the eye and stepping on your feet, and those tantrums they cause when they don't want to leave the toy store.

In 1990 I did a story with Helena Christensen about a woman who lives in a trailer in the middle of the desert and finds a little crushed UFO with a martian who has survived the crash. She takes him home, and they fall in love. Later he has to meet with his fellow martians who have arrived to rescue him. It's a sad ending. This was my first truly narrative story and apparently the first narrative story in fashion photography.

Each of us is born with a series of built-in confusions that are probably somehow Darwinian. These are: (1) we're central to the universe (that is, our personal story is the main and most interesting story, the only story, really); (2) we're separate from the universe (there's US and then, out there, all that other junk - dogs and swing-sets, and the State of Nebraska and low-hanging clouds and, you know, other people), and (3) we're permanent (death is real, o.k., sure - for you, but not for me).

When I get moved to write a story, I don't question the story. I dive right in, and I try to ignore the voices that are chattering away at me: 'You can't do that', 'You shouldn't do that'. I just sort of leap and take a chance and go for it.

A ten- or twelve-page story seems too easy, which is a funny thing to say considering that writing a decent short story is devastatingly difficult. Yet it still seems easier than a novel. You can turn a short story on a single good line - ten pages of decent writing and one good moment.

Every good story needs a complication. We learn this fiction-writing fundamental in courses and workshops, by reading a lot or, most painfully, through our own abandoned story drafts. After writing twenty pages about a harmonious family picnic, say, or a well-received rock concert, we discover that a story without a complication flounders, no matter how lovely the prose. A story needs a point of departure, a place from which the character can discover something, transform himself, realize a truth, reject a truth, right a wrong, make a mistake, come to terms.

I think if the content is good and the content is interesting, the at home viewer will watch it for as long as the story is interesting thus the responsibility for making the story interesting falls on the shoulders of the reporter or the producer. Then I'm disappointed that producers have felt that television can only be told in 59 second story bursts because we've become, it's become journalism based on MTV, video electronic editing and cutting.

As a director, when you cut scenes from a movie, you do it with the idea that it is making the story move forward and progress. Sometimes, you don't realize that something is actually a sidetrack for the story, or it takes the tension out of a scene.

We can't live in a state of perpetual doubt, so we make up the best story possible and we live as if the story were true.

In 1978, 'Time' magazine sent me to do a story about children in Southeast Asia fathered by American GIs. What I saw was very upsetting, but the story they published was whitewashed.

My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.

I may have a story idea but everything starts moving when I am able to see my characters clearly. They then organically lead or respond to the story or the universe I want to create.

I was immediately swept up in Ariane's story. Equal parts thrill-ride and love story, The Rules is intense and emotional. This book stays with you long after you finish.

I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.

The whole business was like a child's toy that you could buy at the dime store, all built in this wonderful way that you could explain in Life magazine so that really a five-year-old can understand what's going on...This was the greatest surprise for everyone.

My favorite toy growing up was Polly Pocket. But one gift that I wanted though never received for Christmas was a pair of trampoline moon shoes. You strap them to your feet and they have springs on them, and you can just jump around!

Villains often more the story along while the heros react to the villains, so the villain becomes the engine of the story.

The Negro. The South. These are the details. The real story is the universal one of men who destroy the souls of other men (and in the process destroy themselves) for reasons neither really understands. It is the story of the persecuted, the defrauded, the feared, and detested. I could have been a Jew in Germany, a Mexican in a number of states, or a member of any 'inferior' group. Only the details would have differed. The story would be the same.

I just found the piano so fascinating and wonderful, and I begged my parents to buy me one. In the end, they bought me a toy piano and eventually an upright piano, and I started lessons.

It's sometimes hard to wrap your head around a big story, and for most of us drawing editorial cartoons 9/11/ 01, that was the biggest story of our professional lives.

It is possible to take the story of Noah figuratively, although virtually every Near East ancient civilization has its own version of the flood story (including the amoral epic of Gilgamesh).

With 'The Forty Rules of Love,' I wanted to write a love story. But I wanted a love story with a spiritual dimension. For me, that took me to Rumi. And from Rumi, I went to Shams of Tabriz. That's how the story took shape.

Only when human sorrows are turned into a toy with glaring colors will baby people become interested - for a while at least. The people are a very fickle baby that must have new toys every day.

what storyteller is adequate to her story? The story carries us along, bottles on the tide, each with our secret mesage and the fervent hope that it does not turn out to be blank.

I guess you just feel like there's a whole story that's not being told in movies. You're only seeing the macho guy version of a story that from the woman's side, may be completely different.

When a story or part of a story comes to me, I turn it over in my mind a long time before starting to write. I might make notes or take long drives or who knows what. By the time I give myself permission to write, I know certain things, though not everything. I know where the story is headed, and I know certain crucial points along the way.

There's an indie movie I did called 'Fat Kid Rules the World,' which was based on a teen book, and it's a fabulous story, and hopefully it'll go to theaters because it is an amazing story.

Having heard Clifford Brown play all those fast runs, I used to really practice Clarke trumpet exercises all day long so that I could play fast. That's all I wanted to do. I was like a child with a toy.

I try to tell a story the way someone would tell you a story in a bar, with the same kind of timing and pacing.

I do hear from people at my exhibition about seeing these things made from this toy from their childhood, and it brings them back. They'll go and buy a set of Lego from the gift shop because of that nostalgia and seeing it at the art exhibition.

The Song is a gritty, realistic, and powerful film. The acting and production quality are excellent, and the story is captivating. Although not for children, the story is a good reminder to adults of what really matters!

Some people do want to stand on the rooftop and scream out their story. Others are cowering in the corner, or sitting with a blank face in class, and not knowing how to tell their story.

Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.

The value of a story like 'Deadline' is kids get to look at death at the perfect distance. They can put the book down. They can experience the story, rub up against it, but it's not real life.

I think writers can get too attached to these worlds they create, these characters they make real, so that, instead of ending the story where the story's asking to end, they draw it out, unable to let go.

We are trying to communicate that which lies in our deepest heart, which has no words, which can only be hinted at through the means of a story. And somehow, miraculously, a story that comes from deep in my heart calls from a reader that which is deepest in his or her heart, and together from our secret hidden selves we create a story that neither of us could have told alone.

We can move water easily with plastic pipes. We can move shade around with nursery cloth like a tinker toy for animals and plants. Yet we have developed this necessity to grow food with chemical fertiliser because we have forgotten the magic of manure.

My first album didn't come out until I was 27, which in pop years is late, you know. But when it came time to arrange it, I became a kid in a toy shop. I had a harp and a saxophone quartet and a symphony orchestra. I went berserk for a time.

Look at Chancellor [Angela] Merkel, her personal story helps to tell a story of incredible achievement that the German people have embarked on and I think is something that you should be very proud of.

Money is the probably the most successful story ever told. It has no objective value... but then you have these master storytellers: the big bankers, the finance ministers... and they come, and they tell a very convincing story.

Everyone has a story, and the story changes, and the more I can root into the truth of things - it's so hard - I don't think anyone ever really puts it all together. But somewhere along the way it all became fused.

The absence of doll babies in my toy chest didn't seriously influence my later decision not to become a mother; rather, I disdained Hasbro's Baby Alive wetting doll because I was already the kind of girl who would grow up to be childless by choice.

I never know exactly where I'm going with a story, whether it's a short story or a novel. If I did I'd soon grow bored of it. The fun, for me, is in the finding out and the making sense of it.

I will never repeat something verbatim on the air unless I know it's accurate. And when you go to the source, sometimes there's a better story beyond the original story. That happens all the time.

But loneliness is as delusive a belief in the pertinence of the world as is love: in choosing to feel lonely, as in choosing to love, one carves a space next to oneself to be filled by others - a friend, a lover, a toy poodle, a violinist on the radio.

If you can shoot well, all you need is a disposable, toy camera or a camera phone to create great work. If you're not talented, it doesn't matter if you buy a Nikon D3X or Leica; your work will still be uninspired.

I done got hit with a belt, a toy, a stick, extension cord, a switch off a tree, whatever. At the same time, my pain tolerance went up... It came to the point where it built toughness... Yeah, it hurt, but I wasn't scared. I knew what was coming. Wasn't nothing I wasn't prepared for.