Best 6566 quotes in «stories quotes» category

We write an awful lot of stories about Donald Trump.

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?

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 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 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 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?

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

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.

Whatever story you're telling, it will be more interesting if, at the end you add, "and then everything burst into flames.

Whatever's happening today, remember it is only ONE SCENE in a long movie. Don't treat it like it's the whole story. Keep writing the story.

Whatever the drama of the story is, you have to be true to it.

Whatever story you're telling in Louisiana, the landscape is going to become a character in it.

Whatever your story, the world does not need to mould you.

Whatever you do in terms of telling a story, the most important thing that you can define is who you are.

What happens is that as the scripts are rewritten and re-edited in order to make the story more compelling, you sometimes end up with what you could call a time singularity - where there's no way for everything that happens to happen in real time. It's something that you need to wink at.

What happened?" Bailey asks. "That is somewhat difficult to explain," Tsukiko answers. "It is a long and complicated story." "And you're not going to tell me, are you?" She tilts her head a bit ... "No, I am not," she says. "Great," Bailey mutters under his breath... "The bonfire exploded? How?" "Remember when I said it was difficult to explain? That has not changed.

What happened in the interim is, billions of records have been digitized. Historians and scholars have always used genealogical records to tell the story of American history. It takes months and years of research. I can't even tell you how laborious that is. You have to be somebody who has a lot of free time, like a professor who can take tenure or someone with a great deal of leisure.

What happens in animation is that you don't really start the story until you're boarding it, which usually means that you've gotta go through some sort of a script phase. And you can get caught in the doldrums there, overdeveloping that, when you don't really know what you have until you put it up in storyboards.

What has always surprised me when I walk into a bookstore is the number of books that you can find that are written with certainty. The authors tell some story as though it's true, but they don't have any evidence that it is true!

What I am telling you, before you begin my story, is this -- two things: I crave truth. And I lie.

What I do know is that with a celebrity's death comes an avalanche of media, and in that media is most often another death - it takes a life that is filled with complicated talent, hope, success and drive and reduces it to the 'story.

What I do with the story itself varies of course, but what I want to do is to present the world so that the reader can access it without tripping over the details.

What I like in comedies are really two things: stories that are character-driven and stories that are rooted in authenticity.

What I like about the Carpenter take on The Thing is the fact that it just has so much suspense. It seemed like a different story, with the horror elements. Those films that really speak to the primal fear that we, as human beings, have about the unknown have always intrigued me. That's the really scary thing, not the slasher, macabre movies.

What I love about film scoring is that all the answers are in the story. You just need to get in tune with the story and realize it musically.

What I love about Gaga is her story, where she came from. Before she made it, before anyone knew who she was, I knew who she was and, to see her finally make it, I was so happy. If we were to work together that would be cool.

What I love about IMAX is that, when you're in an IMAX theater, in a museum, science center or aquarium, it's eight stories tall and it's immersive, and you can see it in 3D, you really feel like you're being transported to that place.

What I'm passionate about is telling stories which mean something to me.

What I'm working on now - I'm back to fantasy, although considering that it's me, I'm turning it into a kind of science fantasy. It's a vampire story - but my vampires are biological vampires. They didn't become vampires because someone bit them; they were born that way.

What I love in a woman is not what she is in and for herself, but the side of herself she turns towards me, what she is for me. I love her as character in our common love story. what wuld Hamlet be without the castle at Elsinore, without Ophelia, without all the concrete situations he goes through, what would he be without the text of his part? What would be left but an empty, dumb, illusory essence?

What I'm hoping to do though is to ground my extrapolations in specificity, and to make sure that the story I tell is deliberately and honestly told.

What interests me about fiction is plot. And what interests me about plot is whether someone tells a story that moves me within the constraints of storytelling. And I have narrowly defined storytelling.

What interests me about fiction is, in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.

What I love about what I get to do is that I'm allowed to create the stories that I want to tell with minimal interference by some very big corporations like Microsoft and Sprint and EA and BioWare. The advantage that these tech companies have is that they understand the space organically, versus traditional media companies.

What I may intend for a story to communicate and what a story ends up communicating could be two different things. And it could be an even more positive thing.

What interests me in writing a novel is taking really remote voices, characters, and stories and beginning to create some kind of web.

What I quickly discovered is that our so-called new South Africa has as much material for a story-teller as the old one. The landscape hasn't really changed. Who is in power now is different to who was in power then, but the squatter camps grow like cancer, the rich get richer, the poor get poorer.

What is important is to maintain integrity of the story, of the character, of the movie, even if it's a big production.

What is my intention being a filmmaker? To make as much money as possible, or get as much attention as possible? It's not really either of those things. Now I can tell the stories that I want to tell.

What is pure Bill? Or excellent or admirable? The death of a million people in a flood? God evidently through so. He is incapable of acts that are not admirable, and it is He who brought about the Flood. How about the slaying of children in Jericho? There are a few Bible stories that are not as terrible as they are happy. We just prefer to leave out the terrible part, but that only makes the good anemic.

What I've realized in the last year, 80% of my act has already happened to me, and it's not until you retell the story at a party or to a friend or it comes up on the podcast that you, I don't know why I'm not doing that onstage!

What makes a story is how well it manages to connect with the reader, the visceral effect it has.

What I tell people is be the best version of yourself in anything that you do. You don't have to live anybody else's story.

What kind of people we become depends crucially on the stories we are nurtured on.

What makes a story a story is that something changes. Internal, external, small or large, trivial or of earth-shattering importance. Doesn't matter.

What more can life hold, than to know that because of your story, somebody out there has decided to read again!

What I usually do is tell funny stories from the road, many of which are, of course, unprintable. But I don't actually have a joke. I don't tell jokes much. I tell little stories.