Story Quotes
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The perfect story is one you can retell in three minutes, and every single sentence is interesting.
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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.
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Great writers know what to cut out. It's the same in life. Clear ambitions. Clear relationships. This is the stuff of good story.
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It is expected that a children's story will raise a difficulty and then resolve it: increasingly, this resolution is so prompt and so resounding that one forgets what exactly the difficulty was.
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You don't just have a story - you're a story in the making, and you never know what the next chapter's going to be. That's what makes it exciting.
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I have also led you astray by talking of technique as if it were something that could be separated from the rest of the story. Technique can't operate at all, of course, except on believable material.
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I decided to be a part of 'Bajrangi'... because I felt that it tells a very relevant story.
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I can't honestly account for the very personal response that I have to one story and not another, a sense of an orbit, the orbit of a world that draws me as my own life recedes.
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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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I was thinking 'Love Story', obviously, was a romantic film of that time.
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When I cook certain dishes, I smell my grandmother's kitchen, my grandmother's smells. I thought, 'What a wonderful way to tell a story.'
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In writing a weird story, I always try very carefully to achieve the right mood and atmosphere and place the emphasis where it belongs.
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The thing is, the Tulsa experience that I wrote about in 'The Outsiders' is closer to the universal experience than it would be if I wrote it from L.A. or New York. It's an everyman story.
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What we wanted to do was tell a story that felt relatable to anyone who's been a teenager. We haven't all been a second-generation Pakistani-American girl with superpowers, but we've all been 16 and awkward.
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It's really important to me not to be a snob about age division or about genre or whatever. The story needs to be what the story needs to be.
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'The Museum of Innocence' is not about politics; it's a love story, but I think it's political in the sense that it wants to capture how a man suppresses a woman.
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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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A new bubble will replace the old one. A new technology will come along to fix the messes we made with the last one. In a way, that is the story of the settling of the Americas, the supposedly inexhaustible frontier to which Europeans escaped.
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I enjoy heroines who grow and come into their own during the course of a story.
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I approach film no differently than I approach a role. I want to make sure the movie is right, the characters are right, I can really bring something to it as a visionary, a storyteller. It's great to point a camera, but can you tell a story?
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I just grew up watching a lot of movies. I'm attracted to this genre and that genre, this type of story, and that type of story. As I watch movies I make some version of it in my head that isn't quite what I'm seeing - taking the things I like and mixing them with stuff I've never seen before.
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Every story about me is so heavy and dramatic. That's not how I do life. But that's the impression people have, and that's what keeps getting reiterated. As if I'm still stuck in all the muck of the past. And I am so not.
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Certain of Poe's tales possess an almost absolute perfection of artistic form which makes them veritable beacon-lights in the province of the short story.
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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.
