Best 6566 quotes in «stories quotes» category

You Can't Kill the Spirit resonates with the voices and power of women around the globe who have refused to be either passive or violent but instead act firmly and imaginatively to oppose oppression in its many guises. A wonderful tonic for activists and a treasure for those who teach, these stories bring women's history to life.

You can't really learn God's hope like you learn the logic of an argument or the details of a story. It's more like learning to belly laugh. You catch hope from someone who has it down in their gut.

You can't rely on the acting to tell the story.

You can't pack everything into every single story.

You can't tell the story of the women's movement through the story of one woman.

You can't tell stories and really walk in someone's shoes and not have a love for them, even if they're doing horrible things.

You can't write ... on the strength of influence. You can only write a good story or a good novel by yourself.

You come up with a story line, you hire the writer, the director, the stars, the set designer.

You can't write a novel all at once, any more than you can swallow a whale in one gulp. You do have to break it up into smaller chunks. But those smaller chunks aren't good old familiar short stories. Novels aren't built out of short stories. They are built out of scenes.

You can use martial arts to tell a different story. Ang Lee used martial arts in 'Crouching Tiger, Hidden Dragon' to talk about love.

You can watch any episode you want and have a compelling story being told.

You could omit anything if you knew that the omitted part would strengthen the short story and make people feel something more than they understood

You cover 50 yards on the playing field of faith with a story that downplays your success. You cover 3 yards, or you may even end up backward, with anything that up-plays or promotes you.

You devise ways to tell a story that complies with your sensibility. Style and method are really extensions of your present sensibility.

You do get certain publications in the States where, if things don't go according to plan, they flip the story and it becomes very negative.

You don't always want to be using the music in a way to express ideas inherent that are on the screen. You might want to work more around the fringes of the story, and work more with the subtext, and add more depth to the story through the use of music.

You don't always have to have the most amazing story. It's learning to share the story you have that counts.

You don't choose your themes; they choose you. The meaning of your stories will rise out of your deepest longings, often out of longings so deep that you haven't admitted them even to yourself. Your convictions, your confusions, your most passionate dreams will be there whenever you begin a story, so you might as well learn to tap into them.

You don't have to live anybody else's story.

You don't have to have a great voice to sing, just a distinctive one. But make sure you say the words clearly and tell a story.

You don't have to turn the Page, I read the Story, it ends with you and me.

You don't reach points in life at which everything is sorted out for us. I believe in endings that should suggest our stories always continue.

You don't necessarily need to go to film school to learn that part of it. But what I valued was that it gives you that incubation and time to figure out who you are, what kind of stories you want to tell, and how you want to forge your path.

You don't realize how little accuracy there is in network TV reporting until they cover a story in your hometown.

You'd tell the world what your best friend wore to sleep if you thought it made a good enough story.

You don't want to be glib; you want to treat every story respectfully.

You don't see Indians in Hollywood films around which a story can revolve. As soon as we have a social presence in your society, I am sure there will be many actors from our part of the world that will be acting in Hollywood films.

You don't want to just preach to people; you want to get them emotionally involved, and I think you do that with a wonderful human story about one person's struggle.

You either have an imaginative mind or you don't. All of my writing is God-given. I don't write my stories - they write themselves.

You find when you're writing a detective story that you're actually not trying to solve anything. You're trying to stop the reader from solving the puzzle.

You either walk inside your story and own it or you stand outside your story and hustle for your worthiness.

You get to play with shadow, mood, and tone. And this [Batman All-Stars] is such a moody story.

You get trapped by stories. Though I've got this reputation for being out of control, it's not true, it just happens to be a more interesting story than the truth.

You get old and you realize there are no answers, just stories.

You had bands like D.O.A., or Black Flag, and a whole network opened up to trailblazer a counter culture movement. I'm more interested in the less sensational type of stories.

You have a choice in this world, I believe, about how to tell sad stories, and we made the funny choice.

You have formal rehearsal, a lot of things you don't have in movies - which is, you have to formally rehearse. You have to know your back story, discuss it, and almost everybody onstage has to know each other's [story], so that when it comes time to actually do it, you can throw it all away. That's the way I like to - and I didn't realize until very recently - that's the way I like to prepare for movies.

You have a tendency, Hastings, to prefer the least likely. That, no doubt, is from reading too many detective stories.

You have to be a bit of a liar to tell a story the right way.

You have only so many chances to tell stories. I didn't want to be forever wedded to one form of storytelling when there are so many out there.

You have to be a great storyteller. And you have to master the tools that you have to tell the story which are, inorder of importance, the script, the actors and then thetechnical means.

You have to be in love with your story ... It's the love of the light; the time of day; of watching the moment unravel.

You have to be driven by the stories that you want to tell. You can't simply be responding, or there won't be any real heart to those stories anymore.

You have to believe in love stories and prince charming and that eventually you'll find your own happily ever after.

You have to be precise. You have to be specific, but you want to be accurate. That is first and foremost. You want to be on top of the story, but words do matter.

You have to go where the story is to report on it. As a journalist, you're essentially running to things that other people are running away from.

You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.

You have to believe in yourself and always strive for the best. Whether that is getting the best actor, the most talented cinematographer, or the best location for your story, you have to have the hunger to want it and be willing to do what it takes to get it. A filmmaker should never be satisfied with their work. There should always be something that they want to improve on.

You have to remember that I was a bright but simple fellow from Canada who seldom, if ever, met another writer, and then only a so-called literary type that occasionally sold a story and meanwhile worked in an office for a living.

You hear about those stories where a person is married to someone and they have another family - that's pretty much unforgivable!