Best 6566 quotes in «stories quotes» category

If you want to dispossess a people, the simplest way to do it is to tell their story and to start with 'secondly'.

If you want to burrow a message into a human mind. Work it into a story

If you want to know someone's story, they have to tell it aloud. But every time, the telling is a little but different. It's new, even to me.

If you watch 'E.T.' and say that there are holes in the story because this alien lands, then don't go to the movie! It drives me insane.

If you want to tell the untold stories, if you want to give voice to the voiceless, you've got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you're dumb and blind.

If you want your children to be smart, tell them stories. If you want them to be really smart, tell them more stories. If you want your children to be brilliant, tell them even more stories.

If you want to tell stories, be a writer, not a filmmaker.

If you will let your dominant intention be to revise and improve the content of the story you tell every day of your life, it is our absolute promise to you that your life will become that ever-improving story.

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.

If you write one story, it may be bad; if you write a hundred, you have the odds in your favor.

If you write a hundred short stories and they're all bad, that doesn't mean you've failed. You fail only if you stop writing.

I get a lot of comics, and I can look at a comic and tell immediately whether I'll enjoy it or not. There are elements in the stories that I have no rapport with. I see dirty language, I see sleazy backgrounds; I see it reflected in the movies, the movies are comics to me. And I don't see a sleazy world. I see hope. I see a positive world.

I get some flak for and some resistance from colleagues for because I'm interested in storytelling. I mean what I like about songwriting is songs used to tell a story.

I get bored with the same old film coming out every weekend. It feels like it's the same story all the time, and the same visuals, and the characters' dilemmas are remarkably similar.

I get quite disappointed that we're still telling stories that I think are problematic in terms of what they're saying about women.

I get stage fright with short stories. For me it feels like standup comedy: kill or die. I'm more confident when I begin a novel because I know I have space to fail.

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.

I got out of autobiography because my story is, I was famous, it was hard for me, I got into therapy. I had trouble with food, I got a nutritionist. There's no story there.

I got one of the five golden tickets to be a writer, and I take that seriously. I don't love my own work at all, but I love my own self. I love that I've been given the chance to capture the stories that come through me.

I got started as an actress doing musical theater, and I always loved 'Grease' and 'West Side Story,' and all those kind of movies.

I got this story from someone who had no business in the telling of it.

I got to talking to an old actor, and he had a bunch of stories about the Rough Riders

I got to watch Frank Capra, in his eighties, in action. You read all the stories about Frank Capra fighting with the head of Columbia, Harry Cohn, "It's my way or the highway." I got to watch that. He lambasted me, "You cannot do this. You will fail." Finally, after another hour of conversation, I convinced him to help me write the speech.

I got very lucky to work with Wes Craven, very early on in my career, and continued to work with Wes for almost 19 years. I learned so much from him, and about his sense of story and his sense of horror, and that was great to be a part of.

I go where the story leads. And, sometimes, it is a little bit outrageous. And I relish that. I sort of want to be as much on the edge as I can.

I grew up in a place where everybody was a storyteller, but nobody wrote. It was that kind of Celtic, storytelling tradition: everybody would have a story at the pub or at parties, even at the clubs and raves.

I grew up in the era of the concept album. What I do now is pick up on singles, and they are their own complete stories; you don't necessarily have to hear the rest of the album because I don't think albums are created like that anymore. They get songs from all over the place.

I grew up reading crime fiction mysteries, true crime - a lot of true crime - and it is traditionally a male dominated field from the outside, but from the inside what we know, those of us who read it, is that women buy the most crime fiction, they are by far the biggest readers of true crime, and there's a voracious appetite among women for these stories, and I know I feel it - since I was quite small I wanted to go to those dark places.

I grew up with some kind of storytelling instinct, and when I write, my default setting is to find a story and then to tell it. It's the only way I know how to write.

I guess the biggest challenge to doing any kind of animation voice work is that you only have your voice to tell the story.

I guess it's a personal preference. Me, personally, I like to be able to tell the stories that I want to tell and do the things that I want to do. It takes a little bit more work, but that's what the production side is.

I guess that is my favorite thing - to make people laugh and also to maybe engage them emotionally and touch them somehow in telling the story.

I guess the story that best defines us [with Bud Yorkin] and our relationship goes back to the [Dean] Martin and [Jerry] Lewis show. The four stage managers on that show became major TV creators and directors - John Rich, Jack Smight, Arthur Penn and Bud Yorkin.

I guess you can stay sort of true to the story; you don't have to artificially bring the character back from whatever doom you've designed for them, you can tell the story, I suppose, honestly.

I had a calling, this is what happened, I've explained the story many times. I've had my priest on, I've had atheists on. When I explain my conversion to atheists, my personal series of events, they go, "Oh, alright.

I had a job, I got ill, I left the job to get better, and while I was getting better, I wrote some stories. I sent them to some publishers and the fifth one who replied said they'd take them. Then they went bankrupt. Then that bankrupt publisher got bought by a bigger firm. Story: in the end is the beginning, and in the beginning is the end.

I had a hard time on TV, the last time on television, so I wasn't sure that I wanted to do that again. But, I really am a big fan of Jenji and I knew this is her next thing, so I read it. And once I read the script, I was really, really impressed that there was a woman who was the centerpiece of her own story, and that she was in the center of her own narrative.

I had a short story collection come out in 2006, and then I couldn't work on large projects for a long time because I was finishing my doctoral degree.

I had been writing since I was pretty small, and I've always been telling these stories about doors and finding other worlds within our own.

I had a story-telling mother; she's written novels and short stories. So I feel like maybe I'm staying alive by telling tales.

I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it.

I hadn't written a love story before and I hadn't written a novel with a happy ending before.

I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.

I had to stop traveling alone because I missed so many planes. When somebody runs up to you in the airport and begins to tell you their life story, you can't say, 'Excuse me, boo,' as they're weeping on your bosom.

I had forgotten that, and so many things. How could I put everything down on paper? It seemed impossible. No matter what, the majority of life would be left out of this story, this sliver of a version of the life I'd known. But I tried anyway.

I had full access to the material, and had a great relationship with Sean Bailey, the president of Disney productions. He really guided me through the licensing process of the footage. I made presentations to the various departments at the studio, and they were moved by Owen's [Suskind] story.

I had stories that needed more space than the hour and a half or two hours a movie gives you.

I had written about a small hamlet upstate, and had been called into a meeting about my story, which, as it turned out, had upset a lot of people.

I hardly know what I'm going to write - an article, a story, a poem in free verse - or in some regular form. I only know that when I have the first sentence. And when the first sentence makes a kind of pattern, then I find out the kind of rhythm I'm looking for.

I HATED the Salinger story. It took me days to go through it, gingerly, a page at a time, and blushing with embarrassment for him every ridiculous sentence of the way. How can they let him do it?