Story Quotes
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In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.
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I think that one of the ways that Americans will come to want to look at history is by looking at their own families' histories, and how those stories relate to the larger picture of American history. Then it is no longer abstract. Then it becomes a story that really means something to us as individuals.
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When you're a storyteller, part of the process of storytelling is the kind of communion you form with the audience to whom you're telling your story. If some segment of the audience doesn't like that story, it doesn't feel good.
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A novel requires a certain kind of world-building and also a certain kind of closure, ultimately. Whereas with a short story you have this sense that there are hinges that the reader doesn't see.
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There's a personal story of my own that I will write at some point, and it's a film that I will happily make. It could very well be the next thing I do, unless someone shows me something great.
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I love literature deeply. I view books as sacred things, and in writing my story, I'm going to do my best to honor the form that has played such a huge part in shaping who I am.
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Because many of us have been in game shows for some time, there's always someone around who can share a story of Johnny O or Jay Stewart that I never heard.
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When I was a film critic, the reason I kind of found it disenchanting was because the things that I wanted to talk about were the ideas in the movie, the theme of it, and contextual elements that weren't necessarily central to the story. But the only thing people really wanted was a plot description and how many stars I'd give it. It didn't matter how much effort you put into writing a piece, they looked at it solely as a consumer's guide toward going or not going to films.
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It doesn't matter the amount of gore, the amount of shocks that you can have in a movie if the movie's not entertaining, if the story's not entertaining.
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Of course, I'm not allowed to talk about the script, but I can say it is a really good story.
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The story of Harold Fry and his unlikely pilgrimage began as an afternoon play for radio. For many years, I have been writing plays and adapting novels for 'Woman's Hour' and the 'Classic' series. So this was originally a three-hander play, broadcast one sunny afternoon on BBC Radio 4.
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When my lady and I sit down and watch TV, I find she gets annoyed at characters because they don't do what she would do in the situation. I'm always like, 'Well, she has to do that because that's what the story is.'
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The Beatles' story is all of our stories.
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I've always thought Shawn Michaels's story is fascinating.
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In terms of the mechanics of story, myth is an intriguing one because we didn't make myth up; myth is an imprinture of the human condition.
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A recipe is a story that ends with a good meal.
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The key is a good story. If you have a good story, you have enough emotional beats that you can hit.
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For me the rehearsal period is the part I most enjoy. It's the creating of the story.
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You can watch someone on – stage cry and cry – but in the audience you feel nothing. It's easy to become indulgent. For me, what's important is the story first.
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Obviously, for me, story is first and foremost, even in the face of the attractive idea of having all the cast there, or having a great piece of talent come to it.
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When I wrote 'The Da Vinci Code,' I told myself that this story of Jesus makes more sense to me than the story I read in the Bible.
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Of, course it always cheers a news editor when a story has what we describe as 'legs' therefore it, erm, runs.
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My only conclusion about structure is that nothing works if you don't have interesting characters and a good story to tell.
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My heart is in independent film-making. For me, it's where the fun, gritty storytelling is being told.
