Story Quotes
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For the doubters out there, of course I was going to have help from Penguin's editorial team in telling my story, which I talked about from the beginning.
The so-called commercialism includes elements like story, plots, rhythms and large big scenes.
'The Terminator' is grounded in so much realism. It's again a story that centers around a woman that isn't a 'woman's picture' necessarily. I found it really thrilling, both 'Terminator 1' and '2.' When you watch it it's such fine storytelling.
Generationally, I relate to Basquiat's culture and the essence of his life story.
I definitely had some heated but extremely productive chats with screenwriter Justin Monjo, but while it's my story, it's their movie, so I have to allow for compression and poetic license.
It was like an honor thing for me to meet 50 cause I respected his whole story.
So 'Nier Automata' feels like a story about androids but no, the main theme of 'Automata' is human.
The moral of a fable is eternal. The moral of a story is temporary to a story.
When I was in college, it was on the recommendation of a friend of mine. He recommended that I take an acting class, and so I kind of did. I was very open to feedback and open to suggestions. I had a little bit of space in my schedule, and I guess, as the story goes, I went into an acting class, and I kind of got the bug for it.
It's an indication of how cynical our society has become that any kind of love story with a sad theme is automatically ridiculed as sentimental junk.
The basic quality that any great story must have is a story that illustrates the human condition.
I have never read horror, nor do I consider The Exorcist to be such, but rather as a suspenseful supernatural detective story, or paranormal police procedural.
I worked in script development, many years ago, and read a lot of scripts. Between that and the scripts I've read as an actor, and I'm a writer as well, I think I have a pretty good sense about whether the bones of a story are there and whether the structure is intact.
I love sci-fi, especially when it thrives on a thought-provoking story, rather than explosions.
The mastery of the turn is the story of how aviation became practical as a means of transportation. It is the story of how the world became small.
Black history is American history. You cannot tell one story without telling the other.
'Story of My Life' was essentially a two-man musical play. In hindsight, I don't know if there was room for a two-man musical on Broadway.
The first story I ever sold was to 'Argosy' magazine, which no longer exists. That issue also contained work by several other more celebrated writers, like Ray Bradbury - so I felt I had at least one toe on the ladder.
I would love to do Tammi Terrell's story. I love stories of the underdog coming out on top and stories of survival.
I've been spoiled by this project. I was given the script and went in to read, realizing that this was a powerful story and one that wasn't told very often.
As one of the largest states in the country, Florida's vibrant diversity is a key part of our nation's story.
Wayne Messam does not have any financial problems and is a classic American Success Story.
Typically, when you sell your story rights to a movie production company, they can do whatever they want with it. The writer is typically not involved anymore.
I have never made a game that wasn't explicitly about empowering players to tell their own story.
I am less comfortable saying I am a jeweller and more comfortable saying I am a story teller.
There's a big link between trains and film. One of the first filmed objects was a train. The clickety-clack of the projector and the clickety-clack of the train are similar. There is the idea of the voyage - every voyage is a story. I wonder if film would have been invented without the train.
I'm a magpie in my fiction, taking whatever looks shiny and curious to line the nest of my story.
I disliked singing in English and neither liked the story nor the character of Cressida.
I have on my wall right now a front page of the 'Journal' from January 1991, when I co-wrote a front-page story about Iraq firing missiles at Israel. By October, I was writing about tech products.
Puerto Rico is complicated. The people are complicated. The history is complicated. The story of the United States' relationship to Puerto Rico is complicated.
Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.
I always liked the Van Gogh story because I was terribly involved in that.
If anybody reads a story in a magazine or book, different pictures compete in their minds.
West Side Story was terribly important because of the style of the dancing and the gangs of New York.
It was OK for the media to pursue Former President Clinton year after year for lying about a private, consensual sexual affair, but we have five justices who committed one of the biggest crimes in American History, and it ceased to be a big story.
'Udta Punjab' is a story of four different people merged together. There are four different stories and four different perspectives.
'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.
'Raazi,' for me, is a human story - it's much more than just a spy thriller.
I aspire to be a part of a good story, because then, the actor will automatically shine through.
When I watch cop shows, I really enjoy them because you can really follow the story and get involved, and the characters are always really interesting.
When it comes to production and the overall sound, I don't really have a lot of intentions with it. I start off with melody and a lyrical idea, and then build off of that story.
I've always wanted to play Maria in West Side Story. My idol is Natalie Wood, and I love the movie, so I think a modern-day twist on it would be really neat.
We were alive during the 'Battle of the Sexes', but that story hadn't really been told.
The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.
My task is to find the authenticity in the character. I tend to go with the script and tell that story.
As an anchor, I want to make sure we're exploring all angles on a story. The viewer can make up their own mind.
My whole story is straight mythical. It's tangible, but it's also what life could be.
We wanted it to be that you could go to the comic shop and read about the back story of 'Pacific Rim' and the drama inherent in it.
If I could pick any story idea or script I had that I wanted everything to go exactly right for, it would probably be 'Pacific Rim.'
I want to be a part of good stories. It’s not about my role, but the overall story that counts.
I don't want to be an editor! I don't want to direct; I'd be a horrible director. I don't want to write - I have a 'story by' credit on one film I did. And I don't want to edit at all.
I don't look at stories in genres. A good story is a good story, no matter what planet it happens on, whether the characters are mice or human or whatever. That's how I look at it.
The most challenging and exciting aspect is the outline and formation of the plot points. This is the stage where the notion of the story begins to take shape, and I can see glimpses of what is to come.
'The Wizard of Oz' and 'Alice in Wonderland' inspired me. I wanted to take those themes and try to bring it into a more 21st story with aliens.
I was a tremendous fan of the original Kenneth Grahame short story, 'The Reluctant Dragon.'
Everybody has their good days and their bad days, there's always two sides to a story.
I don't think my story is an unusual story for a lot of music performers. But I think that since 1982, worldwide, I have probably seen less than 3,000 American dollars in royalties.
We've been told the same story for so long. We've seen literally 1,000 'Lord of the Rings' movies.
Everyone has a story that they read when they were younger that influenced them.
If the script is telling the story well, that is your inspiration, and you do not need to go somewhere else.
I never fixed a story. I didn't make judgments, I let the listener make judgments. When I got to the end of the story, if it had a moral, I let the listener find it.
Obituaries were among my favorite to write because they have elements no other news stories have - a story from start to finish with a proper conclusion.
I went to a large consolidated school in Appalachia. And I wrote the story when I was in the second grade and I took it up to the third floor to the school newspaper office that was written and edited by juniors and seniors.
The thing about 'Next to Normal' is that it really is an ensemble piece for six actors. They are all asked to do very important things in the show, and I think all six are equal in terms of telling the story.
I always wanted to do a Hollywood story. The thing about actors, though, is that they go through a streak of roles. The question is, what's in between?
I always wanted to do a Hollywood story. The thing about actors, though, is that they go through a streak of roles.
I guess I would say that most of what I've learned about storytelling derives from novels and short stories. I cannot think of a novel or story, or a novelist or story writer, who thinks in terms of three-act structure.
During MySpace's run-up, journalists continually got their facts wrong about MySpace. They wrote story after story about how Facebook was bigger than MySpace when in truth Facebook wasn't even 1/10th the size of MySpace.
One of the last courses I taught was on the Russian short story, which I love.
Everything has to be pulling weight in a short story for it to be really of the first order.
The original Return of the Living Dead, I was attached to direct it, and I wrote the story. Production was delayed. In the meantime I went to London to do Lifeforce.
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