Best 6566 quotes in «stories quotes» category

The reporter is the daily prisoner of clocked facts. On all working days, he is expected to do his best in one swift swipe at each story.

The Republicans have never had, in their story - conservatives, either, have never had... I'm talking this in a media context, now. They've never had an agenda or a story that the media would like them to have.

There really is only one ending to any story. Human life ends in death. Until then, it keeps going and gets complicated and there's loss. Everything involves loss; every relationship ends in one way or another.

There really is only one story that you need to tell as a scientist or a technologist. It's Prometheus stealing fire. That's it. That's what we do as scientists or technologists.

There's a classic story I tell about when I did the Man Show about the retarded conversations that you have with the executive producers and the network.

There's a glorious sense of freedom in comedy, just allowing myself to tell jokes, allowing myself to interrupt myself and tell old African folk stories that I made up - or didn't - and Jamaican stories.

There's a great tradition in storytelling that's thousands of years old, telling stories about kings and their palaces, and that's really what I wanted to do.

There's a great appetite for smart television. Every day I get up and there are interesting stories I want to do.

There's a joy in writing short stories, a wonderful sense of reward when you pull certain things off.

There's a kind of tension that if I'm getting a story right I can feel right away, and I don't feel that when I try to write a novel. I kind of want a moment that's explosive, and I want everything gathered into that.

There`s a - kind of an undercurrent of the stories we read during the campaign of, [Michael Flynn] was a guy we thought we knew who seems to have changed in a profound way and become this much more kind of [ controversial] person .

There's always the standard six people you can hire that have played all these villains in Hollywood. Instinctively, when they come on screen, you know what's going to happen. You don't know the story, but you know what they do.

There's a new television generation coming in every five or 10 years, and the classic stories stand up to being redone.

There's an army story in me, and I think there's a WWII Brooks film somewhere.

There's an old story about the person who wished his computer were as easy to use as his telephone. That wish has come true, since I no longer know how to use my telephone.

There's another part of getting older that's just wonderful. Which is you see the way the stories turn out with peoples' lives.

There's a personal story of my own that I will write at some point, and it's a film that I will happily make. It could very well be the next thing I do, unless someone shows me something great.

There's a reason the Exodus story has inspired so many Americans. It's a narrative of hope.

There's a rule for what makes good fantasy work, and it's as strange as any riddle ever posed in a fairy tale: In fantasy, you can do anything; and therefore, the one thing you must not do is 'just anything.' Why? Because in a story where anything can happen and anything can be true, nothing matters. You have no reason to care what happens. It's all arbitrary, and arbitrary isn't interesting.

There's a positive side to film and television, the sense of feeding into the theater... Your fans will follow you, hopefully, and be open-minded to see you play other things and experience other stories you want to tell.

There's a rumor that there may be an attempt at organizing a possible script for a series on my life, which, when you look at my police record, you'd have to have more than one hour to tell the story.

There's a story behind everything..but behind all your stories is always your mother's story..because hers is where yours begins.

There's a structure to a detective story that I can easily understand. I understand playing that particular game. It's like solving a puzzle. Or creating a puzzle.

There's just no more compelling a story, no more compelling an issue, no more compelling a locus of human suffering than Sudan.

There's got to be something you want to tell and that's the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you're telling to be a filmmaker.

There's no better way to test a person than to put them in the middle of a war. That's clearly going to show what kind of a character you're telling a story about.

There's no longevity in me telling old stories on the radio.

There's no need for me to get married. I live with someone; we're happy; end of story.

There's no one out there like Quentin Tarantino. His films have a signature look, and they never just stick to the same kind of story.

There's no real rules about what you do [while directing]; it's just you just use your instincts as to the pacing of a film and what is repetitive and what is the minimum amount you can get away with to tell the story, that scene didn't make it in.

There’s no right way to tell all stories, only the right way to tell a particular story.

There's not a lot of direct back story but you do get to see them playing around each other a lot.

There's nothing more important than a good story.

There's nothing like stories on a windy night when folks have found a warm place in a cold world.

There's nothing more exciting than to watch a story break and grow, and to be the first one to present it to the world.

There's not just one trans story. There's not just one trans experience.

There's nothing to catch up on. You came, you saw, you scored, you left. End of story.

There's no worse crime in journalism these days than simply deciding something's a story because Drudge links to it.

There's nothing that makes my day more than getting an e-mail from some random person in the universe who just bought an iPad over in the UK and tells me the story about how it's the coolest product they've ever brought home in their lives. That's what keeps me going.

There's something special about working with picture and adding music to picture that really takes you to a whole new level. It's always the director's picture first, and I'm there to help tell the story.

There's something about the authenticity rather than the autobiography that makes my story and my pain move across and become your story and your pain.

The research period of a film is the most exciting part of the process, and filming is sometimes a letdown because when you're dealing with biopic material, the real thing is always much more intricate than the story told in the film.

There's so much more to tell about Africa than the usual stories about war, famine and disease.

There's so much more (to say) about being young and being a woman, but I feel like not a lot of those stories are being told, so you have to grab onto what ever small truths you can find and present it in the most honest way you can.

There's the downtown area of Tupelo. Did you see the skyscrapers? Two stories.

There was also the myth of the western films. But my films are borrowed not from the story of the West in America but from the story of cinema.

There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.

There was recently a story out that I turned down a role in a major franchise. That's not true. I refused to audition for it. I didn't get the part. I didn't even go in because I thought that the part was just a repackaged version of the parts I played before in these young adult films - sort of moody, masculine, but sensitive and all this kind of thing. It was just a repackaged, rather dull thing.

There were stories coming out of Thailand that slave labor was being used to catch and process the seafood we eat. They were nearly all from Miramar. Because of reports of widespread labor abuses, several countries are now considering a ban on imports of Thai seafood.

There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.