Best 6566 quotes in «stories quotes» category

My husband is old-fashioned and kind, he does the greatest Sinatra impression, and I'd never have written anything if he hadn't read all those bedtime stories and unloaded the dishwasher while I slaved over chapters.

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 saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.

My inspiration is my life, what I see happening around me. It can be history and, quite often, plain traditional fairy tales. But I never adapt; I nourish myself with old stories, and then create my own tales.

My job is to find the stories, find where to go, do the research, do the logistics, be there on location, and do as much as possible to get the footage that we need to make an incredible film.

My level of intervention in the press, trying to control stories, is zero. Subzero.

My life has been about living like a monk and looking like a priest so that people will come up to me and tell me their most appalling stories. They have to make their confession to somebody, and it might as well be me.

My life has been a dream. If someone had to write a story about it, it would seem a little unreal. It's the kind of story I would read and say, 'Nah, that's not possible.'

My life is a lovely story, happy and full of incident.

My life is making movies. I like storytelling, and I've got a lot of stories that are stored up in my head that I hope to get out before my time is up.

My life story is the story of everyone I've ever met.

My life is a story about who God is and what He does in a human heart.

My life will have been a succession of lives, as if I have had several lives, a multiplicity of stories and roles. I have not ceased to have changes of life.

My love is to tell a story but I like stories that evolve from character, from the nature of the individuals involved.

My love of storytelling comes from oral tradition, the stories from my grandmother and conversations with [my] mother. The world is full of discussions of condensation, drifts, misunderstanding, repetition. These are the materials I work with. My debt is to these women.

My material is as new as anything on the dinner table. What difference does it make if I'm 70 or if I'm 20? The audience knows they aren't getting any old stories from me.

My mission is to tell the story of the birth of ourselves as a universal humanity, awakening all of us to our unique opportunity to participate through our own conscious evolution.

My mother and father were both much more remarkable than any story of mine can make them. They seem to me just mythically wonderful.

My mother told me stories all the time... And in all of those stories she told me who I was, who I was supposed to be, whom I came from, and who would follow me... That's what she said and what she showed me in the things she did and the way she lives.

My mother was a children's librarian. I remember when traditional stories were revised for modern audiences until they bore only a nodding acquaintance with the originals, but were released as 'authentic Indian stories' when they were, in fact, nothing of the kind.

My mother tells this story that when I first went to school, I thought I was going to help the teachers. I didn't realize I was going to get educated.

My mother used to tell this corny story about how the doctor smacked me on the behind when I was born and I thought it was applause, and I have been looking for it ever since.

My movies more often are told through pictures, not words. But in this case, the pictures took second position to the incredible words of Abraham Lincoln and his presence [...] I was less interested in an outpouring of imagery than in letting the most human moment of this story evolve before us.

My novel, which I had started with such hope shortly after publishing my first book of stories, wouldn't budge past the 75-page mark. Nothing I wrote past page 75 made any kind of sense. Nothing. Which would have been fine if the first 75 pages hadn't been pretty damn cool.

My name is Bruce Feiler, and I'm an explainaholic. I first heard this word used to describe Isaac Asimov, and I knew instantly that I suffered from the same condition. It's the incurable desire to tell, shape, share, occasionally exaggerate, often elongate, and inevitably bungle a good story.

My notion of a great novel is something like a five-hundred-page shaggy-dog story, with only the punch line omitted.

My own books drive themselves. I know roughly where a book is going to end, but essentially the story develops under my fingers. It's just a matter of joining the dots.

My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying . . . one must ruthlessly suppress everything that is not concerned with the subject. If, in the first chapter, you say there is a gun hanging on the wall, you should make quite sure that it is going to be used further on in the story.

My only conclusion about structure is that nothing works if you don't have interesting characters and a good story to tell.

My own experience is that once a story has been written, one has to cross out the beginning and the end. It is there that we authors do most of our lying.

My parents and I always put great emphasis on telling stories that appeal to a child's sense of humor.

My passion is to tell stories that reflect humanity.

My personal feeling is that audiences are crying out for stories they can invest in and feel. I see a lot of big movies that leave me feeling rather numb.

My purpose is to have American Jews look away from the success story with which they've cheered themselves up, and to have them remember the classical tradition, whatever it is.

My producers and I worked with these consultants and came up with seventy [stories] which we think are exemplary of the larger arc of African-American history between 1513 and 2013. We covered half a millennium, and it's amazing.

My responsibility is to get the story right. I can't predict or be concerned with the consequences.

My short stories have always pushed twenty pages. That's no length for a short story to be. You either do them short like Carver or you stop trying.

My show is sort of a short-film anthology, and I'm able to tell little stories that don't necessarily carry a whole episode in terms of narrative. I like the audience not being sure what they're getting. I think it's more fun to watch something when you're discovering it as you go along.

My sentences got sharper and my stories more efficient, and I gradually learned to imagine the reader more clearly and to empathize with that imagined reader, which is a crucial part of learning to tell stories.

My son says I never tell stories about anyone who's living.

My short stories are like soft shadows I have set out in the world, faint footprints I have left. I remember exactly where I set down each and every one of them, and how I felt when I did. Short stories are like guideposts to my heart.

My stories tend to bring people from isolation into community - with at least one other person, usually with a whole community of people - so that they find themselves accepted back by a world that they kind of fled from.

My stories are very compact. I want them to say the most complex things in the simplest way.

My stories are character driven.

My stories, I can understand them as a little toy that you wind up and you put it on the floor and it just goes under the coach. That I get. Beyond that, I'm a little lost.

My story follows a very classic tragic paradigm in which you learn things too late for them to be of any use, and by keeping silent about the thing that you're terrified of, you bring it about - and even worse.

My story is important not because it is mine, God knows, but because if I tell it anything like right, the chances are you will recognize that in many ways it is also yours.

My style is colloquial storytelling. It's the way we tell stories to one another - it's not writerly, it's not overdone.

My stories are sometimes closer to poems or meditations, but often there is at least a little narrative in them.

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.

Myths are stories for our search through the ages for truth, for meaning, for significance. We all need to tell our story and to understand our story.  We all need to understand death and to cope with death, and we all need help in our passages from birth to live and then to death.  We need for life to signify, to touch the eternal, to understand the mysterious, to find out who we are.