Best 6566 quotes in «stories quotes» category

We [people] are a species that's wired to tell stories. We need stories. It's how we make sense of things. It's how we learn.

We read novels. We read hundreds of pages of words, when the story is good because we're willing to stay there. I hope the story is good. I'm going into this venture thinking that the audience is really smart and really wants to hear all the nuances of what we're saying.

We read novels because we need stories; we crave them; we can’t live without telling them and hearing them. Stories are how we make sense of our lives and of the world. When we’re distressed and go to therapy, our therapist’s job is to help us tell our story. Life doesn’t come with plots; it’s messy and chaotic; life is one damn, inexplicable thing after another. And we can’t have that. We insist on meaning. And so we tell stories so that our lives make sense.

We're all made of stories. When they finally put us underground, the stories are what will go on. Not forever, perhaps, but for a time. It's a kind of immortality, I suppose, bounded by limits, it's true, but then so's everything.

We're all story-telling creatures, and also I think that's the point about biography because the life is exemplary.

We're all made of stories. When they finally put us underground, the stories are what will go on.

We're all subjective beings and trapped in our own realities and our own biographical stories and physical bodies and our histories - and that's the only way we can experience the world.

We're Catholics before we're Democrats. We're Catholics before we're Republicans. We're even Catholics before we're Americans, because we know that God has a demand on us prior to any government demand on us. And this has been the story of the martyrs through the centuries.

We're definitely going to hell. But we'll have all the best stories to tell

We're going to be really ashamed of ourselves when this whole story about Guantanamo comes out. Guantanamo is a really depraved place.

We're dead as a species if we don't tell stories, because then we don't know who we are.

We're looking at a story we want to call "Am I Black enough for you?" That's that whole question of who determines what "Black enough" is. Is it color? And if it's color, then are you telling me that Clarence Thomas is Blacker than Louis Farrakhan? If it's not color then what's the line that determines whether you are?

We're really having a problem right now in our culture. I haven't seen one movie lately in which the story and visuals have been equally good.

We're supposed to take our problems to a family adviser. Personally, I've never met a family adviser. They're all off somewhere listening to dirty stories.

We're used to comeback stories in the world of sports, but the Gail Devers story is remarkable. This is a comeback from an illness which almost killed her.

Were there stories I wrote along the way that were terrible clinkers? God, yes. But they were all a product of their time, and I did the best I could.

We're trying to set up a movie for me in the near future. It's going to be similar to the story of how I got discovered. Kinda like my own version of '8 Mile.'

We're trying to tell stories. We're a company that's concerned with global change and the effect of global cinema. We're not simply tied to the very limiting framework of U.S. film-making.

We sat down and told stories that happened to us in our childhood, to our children. They were all basically based on the truth. These stories were funny and poignant to us. They just took off. These are all stories from my life.

We should draw on our story, we should draw on our history. If we don't know who we are, if we don't know how we became what we are, we're going to start suffering from all the obvious detrimental effects of amnesia.

...we should never judge anyone; a 'wicked' action which we may see as 'evil', may be necessary for the greater good. Where would the story of Christ be without Judas? His actions were ultimately good; a part of the plan.

We sit and listen and are enthralled anew, for good stories, it seems, never lose their magic.

We still like to make up stories, just as our ancestors did, which use personification to explain the great forces of our existence. Such stories, which explain how the world began or where the sun goes when it sets, we call myths. Mythology is a natural product of the symbolizing mind; poets, when not making up myths of their own, are still commanding ancient ones.

We talked--recent history only--and Lucas relayed the story of how Francis came to be his roommate. "He showed up at the door one night, demanding to be let in. Napped on the sofa for an hour, then demanded to be let out. It turned into a nightly ritual, with him staying longer and longer, until at some point I realized he'd moved in. He's basically the most brazen squatter ever.

We tell stories. We talk about statistics. And in 1978, we added an element of the show that gave it its heartbeat: the long distance dedication.

We tell stories to talk out the trouble in our lives, trouble otherwise so often so unspeakable. It is one of our main ways of making our lives sensible. Trying to live without stories can make us crazy. They help us recognize what we believe to be most valuable in the world, and help us identify what we hold demonic.

We tell stories. We tell stories to pass the time, to leave the world for a while, or go more deeply into it. We tell stories to heal the pain of living.

We tell each other stories to help each other live. That’s why I read poetry. I read poetry to stay alive. That’s why I went to poetry in the first place, that’s why I stay with it, that’s why I’ll never leave it.

We tell the real truth of our life by the stories we repeatedly tell.

We usually break the story first. For instance, on The Monuments Men, and this one is more complicated because there's a lot of history, so before we started, we sat down with Robert Edsel, the author of the book, for about a week, and basically, he just gave us a lecture and went through everything. And then, I had a researcher, somebody who we had actually used on Argo.

We wait, all, for a story of us that shall reach to where we are. We listen for our own speaking; and we hear much that seems our speaking, yet makes us strange to ourselves.

We want to make sure the stories that show up in Path are both good stories and are a big part of people's lives.

We wait until Pandora's box is opened before we say, "Wow, maybe we should understand what's in that box." This is the story of humans on every problem.

We want a story that starts out with an earthquake and works its way up to a climax.

We want to see drama told in a cathartic way, with power, with emotion where you empathize and then you're frightened. All those feelings charge up in you and you feel for the story.

We want to be seen for who we really are, and each person has his own complex story and reasons for doing what they do.

We've sort of agreed that the account of Adam and Eve is a story.

We were all heading for each other on a collision course, no matter what. Maybe some people are just meant to be in the same story.

We want to hear the story first and let the meaning unfold, rather than to be present with expectations of a certain significance into which all behavior is then fitted.

We [with Les Charles] started talking about hotel stories, and we found that a lot of the action was happening in the hotel bar. We actually thought of that while we were in a bar: "Why would anyone ever leave here?

We write an awful lot of stories about Donald Trump.

What do they do to students at the University who eavesdrop?” Bast asked curiously. “I haven’t the slightest idea. I was never caught. I think making you sit and listen to the rest of my story should be punishment enough.

What art ought to do is tell stories which are moment-by-moment wonderful, which are true to human experience, and which in no way explain human experience.

What do you know about yourself? What are your stories? The ones you tell yourself, and the ones told by others. All of us begin somewhere. Though I suppose the truth is that we begin more than once; we begin many times. Over and over, we start our own tales, compose our own stories, whether our lives are short or long. Until at last all our beginnings come down to just one end, and the tale of who we are is done.

Whatever claim you use to gain attention, the advertisement should tell a story reasonably complete.

Whatever kind of story you're telling, whether it's a genre piece for a comic book or whatever it is, it has importance because it's all a metaphor for the existence of our being.

Whatever may be the success of my stories, I shall be resolute in preserving my incognito, having observed that a nom de plume secures all the advantages without the disagreeables of reputation.

What dazzles us in Stacy Schiff's Cleopatra are not the alluring mythologies about the evasive queen, but the astonishing if rare historical facts that Schiff has meticulously and lovingly excavated. Schiff offers not just Cleopatra's story but the story of an amazing era, one that has vanished but still affects us, questioning the way we look at myth, history, and ourselves.

What do you do when your entire identity is destroyed in an instant? How do you cope when your whole life story turns out to bw wrong?

Whatever life we have experienced, if we can tell our story to someone who listens, we find it easier to deal with our circumstances.