Top 1200 True Story Quotes & Sayings - Page 19

For blacks in our society, victimization may be a true issue. But it isn't a true issue for women. Neither men nor women are victimized. The true issue, that I try to point out, is that both sexes suffer restricted roles.

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 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.

The memory came faint and cold of the story I might have told, a story in the likeness of my life, I mean without the courage to end or the strength to go on.

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.

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.

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.

My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way.

I am called to listen to the sound of my own heart -- to write the story within myself that demands to be told at that particular point in my life. And if I do this faithfully, clothing that idea in the flesh of human experience and setting it in a true place, the sound from my heart will resound in the reader's heart.

We all want explanations for why we behave as we do and for the ways the world around us functions. Even when our feeble explanations have little to do with reality. We’re storytelling creatures by nature, and we tell ourselves story after story until we come up with an explanation that we like and that sounds reasonable enough to believe. And when the story portrays us in a more glowing and positive light, so much the better.

Wanting to know absolutely what a story is about, and to be able to say it in a few sentences, is dangerous: it can lead us to wanting to possess a story as we possess a cup... A story can always break into pieces while it sits inside a book on a shelf; and, decades after we have read it even twenty times, it can open us up, by cut or caress, to a new truth.

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.

Separate the story - your story - from facts.

To recover the fatherhood idea, we must fashion a new cultural story of fatherhood. The moral of today's story is that fatherhoodis superfluous. The moral of the new story must be that fatherhood is essential.

I've just directed a film called The Great Debaters, which is inspired by a true story about a young college debating team in the thirties and two of those people are still alive and we put them on tape on the film and I'm sure that will be added to the DVD, and to get the opportunity to do that is very cool.

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.

There are a lot of parallels to the 'Sparkle' story and my story.

My theory for nonfiction is that nobody can be free of some kind of conceptions about whatever story they're writing. But if you can find a way to build those into the story, then the story becomes a process of deconstructing and heightening and sometimes changing those notions and that makes dramatic tension. The initial statement of your position, and then letting reality act on you to change it, is pretty good storytelling.

If I can get a story about a player, I would give you a ship load of numbers, batting averages and all just for that one precious story. That's the kind of thing that I love to do.

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.

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.

I try to do the story the way I feel the story should be done, and how that folds into whatever larger sorts of categories or questions is really none of my business.

I go out and look for a good story to tell and if I like it enough and I decide to direct it, I become dangerously involved in becoming a part of that story.

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.

When I wrote 'The Da Vinci Code,' I told myself that this story of Jesus makes more sense to me than the story I read in the Bible.

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.

'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.

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.

I never start a section of the story without knowing how it will end. I also consciously try to shape the story as though it were a movie.

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.

'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.

You have to tell a story before you can sell a story.

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.

When you close the book, does the story end? No! That's such a bland way to read. Every story goes on forever in our imaginations, and its characters live on.

Philip Galanes makes his debut with a novel that is both heartbreaking and deftly comic, the story of a young man struggling with his most primitive desires--wanting and needing. It is a novel about the complex relationships between parents and children, a story of loss and of our unrelenting need for acknowledgment, to be seen as who we are. And in the end it is simply a love story for our time.

I wouldn't have thought that the techniques of story-telling, which is what the novel is after all, can vary much because there are two things involved.There's a story and there's a listener, whose attention you have to keep. Now the only way in which you can keep a reader's attention to a story is in his wanting to know what is going to happen next. This puts a fairly close restriction on the method you must use.

'Puffball' is a love story... no, it's a life story.

When I looked into the story of Soviet hockey and its players, I realized that it has nothing to do with hockey. It was a larger story using hockey as a window into the story of the rise and fall of the Soviet Union, the Russian people, with friendships and betrayals, paranoia and oppression, and the meaning of sports to people and nations around the world, and how sports was used as a political tool.

If you're going to have a story, have a big story, or none at all.

Pure mathematics consists entirely of assertions to the effect that, if such and such a proposition is true of anything, then suchand such another proposition is true of that thing.... Thus mathematics may be defined as the subject in which we never know what we are talking about, nor whether what we are saying is true.

People are over 20 times more likely to remember a story than a series of facts and figures. A good story touches our hearts.

Collective unity is not the result of the brotherly love of the faithful for each other. The loyalty of the true believer is to the whole the church, party, nation and not to his fellow true believer. True loyalty between individuals is possible only in a loose and relatively free society .

'The Black Prism' is a story of emperors and prisoners and magic set in a Mediterranean, 1600-esque world. It's a fantasy story; it's fast and fun and inventive.

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.

When well told, a story captured the subtle movement of change. If a novel was a map of a country, a story was the bright silver pin that marked the crossroads.

Every love story is a ghost story.

There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.

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.

By now, everyone I know is one of seven strangers, inevitably hoping to represent a predefined demographic and always failing horribly. The Read World is the real world is The Real World is the read world. It’s the same true story, even when it isn’t.

There's only one story, the story of your life.

A story communicates fear, hope, and anxiety, and because we can feel it, we get the moral not just as a concept, but as a teaching of our hearts. That’s the power of story.

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.

When you change your NOW story, you instantly change your past story and your future story.

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?

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.

Cars are all jammed up all along the road and a light turns red and someone honks. In every one of those cars there is a story or a hundred stories. For every light on in al of those huge city buildings there is a story. No one knows what I am about to face and no one knows my story and neither do I right then.

What should be driving the conversation is: What's the story? What's the movie about? Is it a compelling story? And if it is, then you make it regardless of the color of the people behind or in front of the camera.

I can't even tell you what else I imagined. I can only humiliate myself to such a degree; at a certain point it becomes humorous, and this story is not meant to be humorous. This story is meant to winch your ribs open and tamper with your heart. This story is meant to make you realize that your chances of happiness in this world are terribly slim if you lack a fine imagination.