Story Quotes
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Africa's risks are mainly perceived and not real. Unfortunately for us in Africa we are not really very good at telling our own story. But things are changing and people are beginning to understand that things are going very, very well.
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Billy Wilder is really is a heavy influence on Bound. We felt that film noir was a genre where you could create a really contained story. We wanted to be on a set as much as we could to get the kind of style level we were looking for.
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I wrote my first short story for a competition and won second prize. Another competition came up and I won first prize. The first story was published in a newspaper. The second went out on radio.
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Long-format television is a better way to tell a female story.
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Let go of your story so the Universe can write a new one for you.
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Whatever claim you use to get attention, the advertisement should tell a story reasonably complete.
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Any story that I can consider worth telling is one that you could tell in words.
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There are very few films that I've ever seen in my life that would be as silent or vacant as something like Jeremiah Johnson, and that to me was unbelievably captivating. You can see the same about [The Outlaw] Josey Wales: there's very little dialogue, and yet it contains such a deep, rich story. I've always thought of the western as American storytelling at its best.
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Every animal has his or her story, his or her thoughts, daydreams, and interests. All feel joy and love, pain and fear, as we now know beyond any shadow of a doubt. All deserve that the human animal afford them the respect of being cared for with great consideration for those interests or left in peace.
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I will not go into a story unprepared. I will do my homework, and that's something I learned at an early age.
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It is clear that when you write a story that takes place in the past, you try to show what really happened in those times. But you are always moved by the suspicion that you are also showing something about our contemporary world.
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He made a story for all of them, a story to give them strength. The words of the story poured out of his mouth as if they had substance, pebbles and stone extending to hold the corporal up...knees from buckling...hands from letting go of the blanket.
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The first thing I look at with a project isn't who's directing, whether it's a big film; it's the character and whether I want to tell her story.
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You have to be really open to your acting partners and believe in the story.
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There's always room for a story that can transport people to another place.
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Every leader is telling a story... about what he or she values.
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I don't read for plot, a story 'about' this or that. There must be some kind of philosophical depth rendered into the language, something happening.
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A true epilogue is removed from the story in time or space. That's the reason it is called an 'Epilogue'; the label serves to alert the reader that the story itself is over, but we are going to now see a distant result or consequence of that story.
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It doesn't bother me when people try to deconstruct my songs – because at least they're looking at the lyrics, and paying attention to the way the story is told.
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The worst gig story I have is from a club in Alabama that I think is still up and running, so I won't name the name of the club. We got hired in there to play, and the owner was pretty annoying. He kept coming up to me during the show and asking me to play 'Purple Rain.'
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'Somnia' is a story about loss and, I guess, what you're willing to do to have closure and try and feel whole again. It's a story of redemption in a sense. I don't want to give too much away, but it's a heartbreaking story that's incredibly terrifying.
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Nothing is as important as a likable narrator. Nothing holds a story together better.
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I like less the story that a frog if put in cold water will not bestir itself if that water is heated up slowly and gradually and will in the end let itself be killed, boiled alive, too comfortable with continuity to realize that continuous change at some point may become intolerable and demand a change in behaviour.
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What joins the Americans one to another is not a common ancestry, language or race, but a shared work of the imagination that looks forward to the making of a future, not backward to the insignia of the past. Their enterprise is underwritten by a Constitution that allows for the widest horizons of sight and the broadest range of expression, supports the liberties of the people as opposed to the ambitions of the state, and stands as premise for a narrative rather than plan for an invasion or a monument. The narrative was always plural; not one story, many stories.
