Best 6566 quotes in «stories quotes» category

Each story we approach in the same way, with curiosity and interest and determination to get behind the image.

Early on, a story's meaning and rationale seem pretty obvious, but then, as I write it, I realize that I know the meaning/rationale too well, which means that the reader will also know it - and so things have to be ramped up.

Edgar Allan Poe is considered the great writer of horror stories, perhaps the greatest - I will say the greatest

Education truly can change a person’s story, it gave me everything. Whatever happens, get an #‎ education .

Einstein theorized that time travel was possible, but he was looking at it as unidirectional, going forward. Traveling into the past is much more problematic, as countless stories have demonstrated!

Either you’re going to tell stories that spread, or you will become irrelevant.

Emotionally, in our minds, we get so filled with resentments where we've got a story about absolutely everything.

Emotion in itself is not unhappiness. Only emotion plus an unhappy story is unhappiness

Empathy is the key to great stories.

Endings are the hardest part. I find there's a great relief that at the end of every episode, every hour of TV you produce, while you want a proper and satisfying ending, it doesn't have to end The Story, in capital letters.

End-of-the-world stories tend to ring true. I've always been drawn to them, but as I wrote my own, I found surprising pleasure in creating a world that is so radically changed, yet where there's so much meaning and value in every small and ordinary thing we have, and take for granted: hot showers, enough food, friends, routines.

Enter the story as late as you can.

Epidemiologists study patterns in order to combat infection. Stories about epidemics follow patterns, too. Stories arent often deadly, but they can be virulent: spreading fast, weakening resistance, wreaking havoc.

Eragon cried out, and in his desperation he reached for Saphira and the Eldunarí... and without meaning to, he drew from their stories of energy. And with that energy he cast a spell. It was a spell without words... His was a spell of instinct and emotion; language could not contain it.

Etta James is my all-time favorite singer. I've said it in every interview, in every story, in every on- and off-camera question. That music was always such a huge escape for me, even from a young age.

Even for a girl like me, then, there comes a day when she can stop surviving and start living. To survive, you have to look good or talk good. But to end your story well-- here is the truth-- you have to talk yourself out of it.

Even if it’s a dumb story, telling it changes people just the slightest little bit, just as living the story changes me. An infinitesimal change. And that infinetisimal change ripples outward —ever smaller but everlasting. I will get forgotten, but the stories will last. And so we all matter —maybe less than a lot, but always more than none.

Even if the experience in my stories is not autobiographical and the actual plot is not autobiographical, the emotion is always somewhat autobiographical. I think there's some of me in every one of the stories.

Even if you're doing something that the studio sends you, or something that's based on a book or story, at the end of it all, you try to make whatever it is your own. This is based on my love of horror movies. Everything is based on something, in some way.

Even if you're in charge of the grand story there's still memory. The other stories do not go away.

Even if you tried to extinguish your personality, what is left in the story will reflect it, perhaps by its negation. Our lives provide the bricks from which we build these cathedrals.

Even in the Future the Story Begins with Once Upon a Time.

Even if you're an observer of a story that you yourself made up, you're still very much connected to it. You love it and feel it, no less than somebody's who's writing from their direct 'I' or 'me.' I'm just so much more interesting in stories than confessions.

Even just reading "I Don't Feel at Home in This World Anymore,"I got a sense of the world and the story [Macon Blair] wanted to tell. And then I had a meeting with him and understood how he likes to work. I really trusted him from the beginning.

Even knowing the ending was sad, I wouldn't have deprived myself the beauty of the story.

Even in traditional filmmaking, you're always trying to find novel ways of telling stories, and this is different.

Even sad stories are company. And perhaps that's why you might read such a chronicle, to look into a companionable darkness that isn't yours.

Even in the Senate, I'd put up any of the stories we did against any pablum Time or Newsweek has put out on global warming. We'd link to the other side; we'd present their arguments. They do one-sided screeds.

Even on health care what you've seen is a lot of stories surfacing lately about people who said, "Well, I voted for [Donald] Trump but I don't think he's really gonna take away my health care.

Even on my films, I always collaborate with the actors. That's a given. I think you need that. You need the actors to feel as much ownership of the performance and the direction of the story as you do, to get the most out of everyone's potential.

Even in this place one can survive, and therefore one must want to survive, to tell the story, to bear witness; and that to survive we must force ourselves to save at least the skeleton, the scaffolding, the form of civilization. We are slaves, deprived of every right, exposed to every insult, condemned to certain death, but we still possess one power, and we must defend it with all our strength for it is the last — the power to refuse our consent.

Even the pictures I was doing at college - a little narrative based on a butterfly catcher, or a chimney sweep - the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through - it's exactly what I do now.

Even the silence has a story to tell you. Just listen. Listen.

Events at home, at work, in the street - these are the bases for a story.

Even though the story [Fences] is set during the 1950s, some contemporary women might have trouble understanding her decision.

Eventually I would like to touch all the genres. I would like to do some detective stories, and I want to do a Western. I would want to do humorous Westerns.

Even though one of them is about an Edinburgh junkie and ones a little boy of eight in Manchester, you want them to always portray their world in such a vivid way that the audience can disappear inside the story.

Eventually, I came to believe, stupidly, that I had exhausted that story's "original" form with its single use. I went on to other stories, other forms and genres.

Eventually, it came to this place like, "I'd like to direct, but I need to find the story to tell." Man of Tai Chi became the story to tell.

Even when things are at their worst, there's a little voice in your head saying, 'Good story!'

Every actress has a line she'll draw, where she'll say, 'This I will do and this I won't.' For me, everything has to be important to the story and the director has to be able to tell me why.

Even within single sentences, there are sudden changes of register. And when the travellers go to Venice, they see a play by Voltaire! This is a novel [Candid] which has narratives within narratives, such as when Cunégonde recounts her story.

Ever since I was twelve, I dreamed of being an author. I just never had the fortitude to see any of my stories through to completion. I would start a book, get a few chapters in, and grow bored or get distracted by something else.

Every artist has a central story to tell, and the difficulty, the impossible task, is trying to present that story in pictures

Ever since I can remember I was telling stories and had a huge interest in other people and what made them tick.

Every artist is an unhappy lover. And unhappy lovers want to tell their story.

Everybody has felt at one time or another that everyone else in the world had a better shot than they did, so when you engage that, you engage the reader, and I think you create a character that brings the reader more fully into the story.

Everybody here has a story. New Orleans was always a place where people talked too much even if they had nothing to say. Now everyone's got something to say.

Everybody goes through a lot of the same things, and I talk about those, and that's the key. You have to connect with your audience, and I might take them on a trip with me, tell them I went here and I went there and they'll go with me, you know, to hear the stories.

Everybody is a hero in their own story if you just look.