Bart Ehrman Quotes
In oral societies it is recognized that the telling of a story to a different audience or in a different context or for a different reason calls for a different version of the story. Stories are molded to the time and circumstance in which they are told.
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Quotes to Explore
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I did a sitcom with Desi Arnaz Jr. in a pilot called 'Whacked Out.' We were bombing, and Lucille Ball grabbed the mic and started berating the audience.
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When you're still, and some actors are really brilliant at that, you bring a kind of energy to you as opposed to sending the energy out. There are some actors, like Gary Cooper or Kevin Spacey, that are absolutely brilliant - Gene Hackman is another - at being and allowing the audience to just do the work.
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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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My ultimate aim would be to captivate an audience, even just for a second.
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There really isn't a story that you can't tell inside of it. It's very much a clearinghouse for anything that goes on in the world. So you're not at all limited.
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I believe that given the audience attention level, we could do an even more compelling 90 minutes.
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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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There's no story that breaks, including a five-alarm fire in Brooklyn, that I don't wish I were covering.
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Genes are like the story, and DNA is the language that the story is written in.
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Reading a Lydia Davis story collection is like reaching into what you think is a bag of potato chips and pulling out something else entirely: a gherkin, a pepper corn, a truffle, a piece of beef jerky.
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I'm just very pleased and thankful that there was a receptive audience of people that I was able to connect with.
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For me, clothing is nothing without the story behind it. Everything I own evokes some kind of memory.
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I'm a novelist, editor, short story writer. I also teach, and I freelance sometimes as an arts consultant. Most of my books have been published by Warner Books, now known as Grand Central Books.
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Steampunk is not a group of children in a classroom, sitting quietly while the teacher reads a story; it's the kids at recess, playing a wild, endless game of pretend.
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Mysteries include so many things: the noir novel, espionage novel, private eye novels, thrillers, police procedurals. But the pure detective story is where there's a detective and a criminal who's committed a murder and leaves clues for the detective and the careful reader to find.
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If you want a happy ending, that depends, of course, on where you stop your story.
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I wrote my first book at eight, all of four pages. At 10, I did a 40-page story. At 12, I wrote two stage plays.
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While some debate its helpfulness at generating monetizable traffic, when Digg points to a story, huge audience spikes quickly follow.
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I wanted to play Dracula because I wanted to say: 'I've crossed oceans of time to find you.' It was worth playing the role just to say that line.
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Both my grandmothers had upright pianos, and I just knew how to play since I was a child. Nobody taught me. I sounded like a grown-up, and then I learned how to read music. I played so well by ear I could fool the teacher to believe I could play the notes. She'd make the mistake of playing the song once, and I could play it.
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The very word possibility creates a mental climate conducive to creativity.
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If you call yourself a leader, then you have to be decisive. If you're decisive, then you have the chance to be a leader. These are two sides to the same coin.
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In oral societies it is recognized that the telling of a story to a different audience or in a different context or for a different reason calls for a different version of the story. Stories are molded to the time and circumstance in which they are told.