Jane Powell Quotes
They're pretty simple. They don't have a lot of fancy gingerbread details. Everything is straight and flat and usually one-story.
Quotes to Explore
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I'm not a character like Rapunzel or Cinderella; my story looks like any other.
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It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.
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I've always loved massive worlds, whether in fantasy or science fiction. I like the idea of making my own rules as well as utilizing everything that I love or inspires me. It's very freeing to know you can write a story that can be as big as your own imagination.
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A story never looks as good as when the other fellow buys it.
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It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.
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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.
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What I'm trying to do is to write a story. If you take something from it, that's wonderful; if you don't, that's wonderful as well.
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I'm not a very big fan of 'Slumdog Millionaire.' I think it's visually brilliant. But I have problems with the story line. I find the storyline unconvincing.
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Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.
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Every story I create, creates me. I write to create myself.
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A good story will keep you wondering about what's happening, what's going on, where does this go? Now it's going to go that way, now it's going to go that way. It has to do that. If it's predictable, it's just boring.
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People will turn their noses up at a sequel or that type of thing, but Pixar really works hard - if they're making a sequel - to make a sequel an original movie, to make it an original story.
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I know feeling pressure gets you nowhere creatively. You've just got to understand the character, understand the story, and just play it to the fullest extent.
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I was also the romantic lead in The Boston Strangler - I was the only one that lived to tell the story - so I called myself the romantic lead.
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It's really a sad story, and I liked that. The songs on this album talk about relationships in every aspect.
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I think I've played a lesbian about five times. The first one was with Helen Baxendale in a drama called 'The Investigator,' about the conditions lesbians had to live under in the army in Britain, which was based on a true story.
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With a mini series you can give the story a proper sense of pacing, a proper sense of closure.
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As a writer, I had learned a lot on 'Margin Call' about embracing the weaknesses of a narrative and of a project. A story always has an inherent narrative weakness.
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I'm still interested in perfecting whatever talents I have and continuing to grow as an actor and continuing to be useful to the telling of the story.
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No two persons ever read the same book.
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If you meet at dinner a man who has spent his life in educating himself - a rare type in our time ... you rise from table richer, and conscious that a high ideal has for a moment touched and sanctified your days. But Oh! my dear Ernest, to sit next to a man who has spent his life in trying to educate others! What a dreadful experience that is!
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God calls men to be imitators of His son, Jesus Christ, to conform themselves to Christ's image (1 Cor. 15:49). They are to work out the salvation that God gives them, and they are to do this with fear and trembling (Phil. 2:12). This kind of steady improvement involves upward mobility: spiritual improvement, at the very least, but also economic and social mobility.
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They're pretty simple. They don't have a lot of fancy gingerbread details. Everything is straight and flat and usually one-story.
