Top 1200 Untold Stories Quotes & Sayings - Page 16

You want to go to a place where you work every day, where you get to tell stories that look and feel like the audience in America that are watching. You're really limited, if you walk into a room and you can just tell stories about that. So, we've been really blessed.

Both are about telling stories and bringing truth to those stories. In most of my music it's firsthand experience, and some of the same rules apply in TV. The difference in music is the control, whereas doing this, it's someone else's words that you can play in your own way.

We learn best to listen to our own voices if we are listening at the same time to other women - whose stories, for all our differences, turn out, if we listen well, to be our stories also.

I never, ever have seen media this way. It's almost indescribable. Making up stories, refusing to run real stories. It's making themselves look like utter fools. There's no journalism, there is no media. There's pure, full-fledged advocacy here.

I grew up reading Updike. I remember being alarmed to find that he had published short stories by the time he was 22. I think 'Pigeon Feathers' was the first collection of stories I read. Only much later did I discover his non-fiction reviewing and art criticism.

We promote Asian storytelling - not just Asian stories but Asian people in stories with the full spectrum of the human experience. When you say, 'Oh, it's not enough attention on Asians. It's more black and white,' that game becomes like you're playing the discrimination Olympics.

On TV, stories and events are finalized in 30 or 60 minutes, or neatly tied up after a season or two. The best stories are the ones that force us to come to our own conclusions and to explain why we believe in our conclusions.

Each day has a story to - deserves to be told, because we are made of stories. I mean, scientists say that human beings are made of atoms, but a little bird told me that we are also made of stories.

Our culture already has a number of well known stories about artificial life and non-human intelligence. In 'Exegesis,' I've tried to not only tell a new and engaging story but also to comment on those well known stories through the details of my novel.

There is humanist enterprise of the book, and amongst that there are many, many stories. And that is why at the end, when he says that the stories are so illuminating that they must be engraved and encased in gold and put in the palace library, the people who compile the book are telling us that this is a collection of human wisdom.

I play an instrument that has four strings, and I'm still trying to get it right. What I've tried to do in the process of playing these four strings is to try and understand the people I meet, the stories they have to tell. And then become an advocate for them and their stories through music.

Good stories flow like honey but bad stories stick in the craw [gullet]. What is a bad story? It's a story that cannot be absorbed in the first time of reading. It's a story that leaves questions unanswered.

Climate change is one of those stories that deserves more attention, that we all talk about, but we haven't figured out how to engage the audience in that story in a meaningful way. When we do do those stories, there does tend to be a tremendous amount of lack of interest on the audience's part.

I never imagined people like Thanos and Warlock would be drawn into films. They're weird characters in weird stories. Luckily, the twisted kids who read those weird stories are now the twisted adults who are making movies.

Because my writing time has always been very limited, I try to be very choosy about which stories I work on. There are many ideas that would make interesting stories - too many - so it's important to be ruthless and say no to most of them.

Politics boils down to the stories we tell ourselves. And unfortunately, we tell ourselves different stories.

Every camera shoots horizontal, right? So we're all super used to framing things with lots of horizontal room. We've seen this new wave of Snapchat stories and Instagram stories where people are actually framing for and recording in vertical. Whether it's better or not is debatable.

I was being brought up on peasant stories; my mother came from Europe and she'd been a peasant and that was the area where the Frankensteins and the Draculas came from and it was entertainment for the people. Nobody had TV, and that was the way peasants would entertain themselves, by telling these stories.

We're all going to keep telling love stories, we're all going to tell hero stories. It's all a question of what your own thumbprint, your own DNA, is, and what it brings to the table that makes it unique.

A community, a family, is a group of people who share common stories. The health of any community depends directly on the health of the stories the community embraces.

I've long been interested in the tale-within-a-tale phenomenon. I'm familiar with many tales which use this framework or the device of many people in one place, telling their stories, or multiple storytellers commenting on each others' stories with their own.

Stories lie deep in our souls. Stories lie so deep at the bottom of our hearts that they can bring people together on the deepest level. When I write a novel, I go into such depths.

If you feel stuck in your present life, if you feel no enthusiasm for anything, if you think you have no purpose or that you lost that purpose somewhere along the way, I guarantee you are living in a dungeon made of stories. And that none of those limiting stories are true.

I have been watching how Indian women are forced to do certain things, as the stories of sacrifice and devotion in mythology demand from them. And then there are inspiring stories about women like the Rani of Jhansi that offer women refreshing role models.

When a culture is not mythologically instructed, not instructed in story that gives us a call, then we start looking for quasi-stories, little toxic stories that keep our selves alerted and spared until we find another story.

You'll notice that my books offer great variety. Some are for adults, some for children and some for teens. There are mysteries, historical novels, picture books, love stories and stories of crisis and courage.

There is no way that you can read the entire Bible seriously and take every word literally. Contradictions start in the first chapter of Genesis. There are two Creation stories, two stories of the making of Adam and Eve. And that is all right. The Bible is still true.

I love stories about women, and I think stories about women are generally pretty underrepresented.

Literature for me… tries to heal the harm done by stories. (How much harm? Most of the atrocities of history have been created by stories, e.g., the Jews killed Jesus.) I follow Sartre that the freedom the author claims for herself must be shared with the reader. So that would mean that literature is stories that put themselves at the disposal of readers who want to heal themselves. Their healing power lies in their honesty, the freshness of their vision, the new and unexpected things they show, the increase in power and responsibility they give the reader.

How many stories do you know about people cooped up in places because of deep snowfall? How many stories where something good happens to those people?

In a pure anonymous encounter you find a world alive and full of character. In New York, the street adventures are incredible. There are a thousand stories in a single block. You see the stories in people's faces. You hear the songs immediately. Here, in Los Angeles, there are fewer characters because they are all inside automobiles.

For in Calormen, story-telling (whether the stories are true or made up) is a thing you're taught, just as English boys and girls are taught essay-writing. The difference is that people want to hear the stories, whereas I never heard of anyone who wanted to read the essays.

Predominantly I've worked with Blumhouse, and they've been really great to me. We are extremely grateful for employment. But maybe my dark soul attracts these darker, horrifying stories. But I don't particularly close myself off to any employment - any stories, I should say.

My family were great story-tellers. My mum was one of 12 and they were all fighting to tell stories. You have to tell a good tale or no one is going to listen. You have to make it entertaining and interesting. That's how I learned to tell stories.

Beginning in middle school, the era of wide-margined, Bible-paged anthologies, short stories develop unpromising associations - and these associations often linger through college, when stories become the things distributed in Xeroxes missing entire pages of line-endings.

Through my time in the military and my deployments, I have recognized the importance of having a Commander in Chief who will not only go after those who threaten the safety and security of the American people, but who will also exercise good judgment and foresight in stopping these failed interventionist wars of regime change that have cost our country so much in human lives, untold suffering, and trillions of dollars.

We tell each other stories so we can understand the world better and there's catharsis and we understand the models of what a hero could be and what the hero's journey as a human being is all about. But unfortunately, I think sometimes those stories too can be very prohibitive and confining.

I started writing because I wanted to write scripts, but I wasn't very good at it. Then I started writing short stories, sort of as treatments for the film scripts, and I found I enjoyed writing short stories far more than I enjoyed writing film scripts. Then the short stories got longer and longer and suddenly, I had novels.

I grew up in Sierra Leone, in a small village where as a boy my imagination was sparked by the oral tradition of storytelling. At a very young age I learned the importance of telling stories - I saw that stories are the most potent way of seeing anything we encounter in our lives, and how we can deal with living.

The move to creating stories was a natural progression for me, but the most pivotal time was probably in 6th grade: That year, a friend introduced me to the stories of Ray Bradbury, and a student teacher introduced me to creative writing.

If you look closely, you'll see that Marvel basically has three Thanoses. There is the 1970s Thanos appearing in the movies. This is before he got the Infinity Gauntlet. Then there are the Thanos stories I'm telling. And finally, there is the Thanos that appears in the mainstream Marvel stories.

In the average newspaper there is not a complete suppression of stories that the sacred cows don't want printed. But rather what happens is that the stories get printed with stresses, colorations and emphasis that favor the sacred cows.

My works are a direct response to the typical space opera. I grew tired of always reading about how the people with power, with agency, get involved in huge sweeping arcs of stories. I wanted stories that dealt with real people, people I could relate to.

Stories--from the literature of our culture to descriptions of our days to the lunatic's ravings--appear to be hardwired into us. Even in sleep we tell ourselves stories through our dreams, and it's been shown that those who are prevented from doing so cease to function.

I have found that the person with a sense of story built in from childhood is in better shape than one who has not had stories . . One knows what stories can do, how they can make up worlds and transpose existence into these worlds. . . .One learns that worlds are made by words and not only by hammers and wires.

I always thought that life is full of stories and characters that feel like literary stories and characters. So when I started making documentaries, they weren't humble empirical things, just following people around. I was always trying to impose a story.

When 93 percent of our stories are told by white men, it's an issue. And if those white men go on and tell the stories the way they see their world, which is all white, then it's an even bigger problem.

Cinema really lends itself well to big, archetypal stories, you know, classic old stories and you need kind of a weird, big terrain like the Japanese plains for Samurai movies or the West. You need that for these giants to walk around.

If throughout your life you abstain from murder, theft, fornication, perjury, blasphemy, and disrespect toward your parents, church, and your king, you are conventionally held to deserve moral admiration even if you have never done a single kind, generous or useful action. This very inadequate notion of virtue is an outcome of taboo morality, and has done untold harm.

We read novels because we need stories; we crave them; we can’t live without telling them and hearing them. Stories are how we make sense of our lives and of the world. When we’re distressed and go to therapy, our therapist’s job is to help us tell our story. Life doesn’t come with plots; it’s messy and chaotic; life is one damn, inexplicable thing after another. And we can’t have that. We insist on meaning. And so we tell stories so that our lives make sense.

I like stories, and I really like words. So I like stories that rely on dialogue.

People do amazing things for love. Books are full of wonderful stories about this kind of stuff, and stories aren’t just fantasies, you know. They’re so much a part of the people who write them that they practically teach their readers invaluable lessons about life.

Some worked in collaboration with each other to produce comics as well as short stories.I was partnered with Anita Roy. We critiqued each other's stories. Hers is a corker: future Masterchef. I chortled. There's not a single dud in Eat the Sky.

The first story I wrote was "Catface" which was later selected for The O. Henry Collection, so that gave me some confidence to try some more. Gathering these stories together was fun, but I realized when I read them that I have certain mental preoccupations and they keep recurring in my stories.

Well, life is dark. We live in a very dark world. When they call them "dark films" it annoys me, because they're very real stories. They're stories I have seen or experienced or witnessed, and coming from that place, that is the hope of humanity.

I want to work with great directors and tell great stories - storytelling is the one great love of my life, and it means so much, and we have the ability to change the world by telling stories, and I want to keep doing that.

We learn best to listen to our own voices if we are listening at the same time to other women-whose stories, for all our differences, turn out, if we listen well, to be our stories also.

Stories always have held conflicts and contrasts, highs and lows, life and death situations. And there can be much suffering in stories, but now we say the artist doesn’t have to suffer to show suffering. You just have to understand the human condition, understand the suffering.

I am really inspired by strong, badass, female characters. I would start with a revenge film, then ease into stories of badass everyday woman who make a difference in their own life for the better of people and environment around them. Stories of self realization.

In my house, there is an old Chinese cabinet full of little figurines on two shelves. They are for my daughter, to tell stories. We have told hours and hours or stories using these figures. There are all kinds of people, children and adults, and all kinds of animals - elephants, tigers, snakes.