P. D. James Quotes
Quotes to Explore
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We want a story that starts out with an earthquake and works its way up to a climax.
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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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There is no 'natural' order, only the way things are.
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All of my problems are rather complicated - I need an entire novel to deal with them, not a short story or a movie. It's like a personal therapy.
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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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90%, 100% are going there to hear the singing. The story is another thing. Nobody's interested in the story. Happiness is happiness.
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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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This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
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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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The reader is going to imprint on the characters he sees first. He is going to expect to see these people often, to have them figure largely into the story, possibly to care about them. Usually, this will be the protagonist.
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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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Narrative drives most of economics. Everything seems to be part of a story, and how that story is told often leads to critical error.
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For we are inquiring not in order to know what virtue is, but in order to become good, since otherwise our inquiry would have been of no use.
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I got into writing music when I was, like, 14 or 15. It was a very private thing for me because I used it as an outlet and emotional release. I kept it very close to myself and didn't tell too many people about it.
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My one complaint with my father as a parent is that, not only was he not a golfer, but also he was sort of opposed to golf. I was a country club kid growing up. I should have played golf, but my father thought golf was a sport for old men.
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I admire Governor Blagojevich's unbending commitment to giving every person in Illinois access to health care.
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What the detective story is about is not murder but the restoration of order.
