Story Quotes
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The challenge of life, I have found, is to build a resume that doesn't simply tell a story about what you want to be, but it's a story about who you want to be.
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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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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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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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I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling.
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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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Managing to tell a story is very gratifying.
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We may not know the whole story in our lifetime.
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Being in the industry, I've seen many situations where someone will get the call from the network where they say 'You guys have 5 episodes to wrap it up.' Then all your long-term story arcs gotta get wrapped up in five episodes because that's how many episodes you got left. I would hate to see that happen to 'Castle'.
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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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'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.
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It's like tabloid news programs that talk about how horrible something is, while at the same time they're glorifying it as their top story.
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I have no problems with remakes, and I think it's interesting. I mean, coming from the theater, we've been remaking 'Hamlet' for a hundred years, so it's no problem to me at all. A good story can be told in many different ways in different places; I just think it's interesting.
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The job of the screenplay is to identify and extract the essence of the story from the novel and reconfigure it for the screen, maintaining its essence in a different vehicle.
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I built a company, a team, and a brand that started right here. It was an American success story, and it started right here in Arizona.
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When readers close the covers on 'Running the Rift,' I want them to understand that it is not a genocide novel but rather a story of hope and rebirth.
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The more ways you can tell a story and paint a picture, the better it is.
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I felt like the country lays out like a pretty beautiful story itself, heading from the East Coast to West.
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'Air' is very placeless - it's set in many different countries, and much of the story is about going places rather than being places. 'Air' is about travelers, and I'm a chronic traveler.
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I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.
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Everybody has a Bill Murray story. He just punishes people for reasons they can't figure out.
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Everyone has a story.
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Show me an Irishman who can't tell a story – I don't think they exist.
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With every story that TV covers, somebody - some corporation, some shareholders - are making money. That's true whether covering Libya, Iraq, the tsunami in Japan, Osama bin Laden, whatever story there is. That day, the shareholders are making money off it. Every newspaper that's sold, somebody's making a dime.
