Stories Quotes
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Technology today is the campfire around which we tell our stories. There's this attraction to light and to this kind of power, which is both warm and destructive. We're especially drawn to the power. Many of the images of technology are about making us more powerful, extending what we can do. Unfortunately, 95 percent of this is hype, because I think we're powerful without it.
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Storytelling sticks in the mind because it attaches emotions to events, and that's the way we remember things. If you don't tell stories, no one will remember what you say.
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I think it's very important for people to not judge the people you're playing. You have to find a way to love them because their story is theirs. I just don't think there would be any use in that.
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I was working at a restaurant in L.A. when a producer came in. He said I should audition for this movie Cellular. I did, and I got the part. It actually makes me sick to tell that story because its obnoxious.
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Sometimes I try to meditate, which I hope will help, but it doesn't really. But lots of times my dreams have the seed of an intriguing story.
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Because Lincoln is so closely identified with what it is to be American, everyone wants to claim him, to rewrite his story to satisfy their own particular needs.
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The world comes to us in fragments and shards. Whatever stories we shape from our days, we're always dealing with gaps, blank-spots, and blackouts - and in handling all these breakages, we are, at all times, so incredibly intimate with sharp edges, the unending knife-like moments of failure and joy in our lives.
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Much contemporary verse reads like failed short-short stories rather than failed poetry.
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What's your story? It's all in the telling. Stories are compasses and architecture; we navigate by them, and to be without a story is to be lost in the vastness of world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story. Which means that a place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there.
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If you see everything through hovercams and feed stories, you wind up blind to what's right in front of you.
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I'd love to do a whole series of stories and have them collected into books.
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I always let the characters guide the stories. They really let me know what they want to say and what action they want to happen.
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I think that's an important part of art in general. Especially in literature, in stories, we play with eventualities that may put us through a lot of intense negative feelings - say, in horror films or tragedies as intense as King Lear - but we come out feeling richer. We've lived to the fullest, we've tested ourselves in these environments.
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Larger game teams are often a bit more experienced at working with writers, which is often a huge relief. However, it also means that there are more people wanting to wander around the narrative kitchen telling you how you should be making your story pies.
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I look forward to breaking huge stories on InfoWars.
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You hear these horrible stories about the FBI just doing all these nasty things to people. And you know what? In my case, I didn't experience any of that, probably because the way I treated them. I was like, 'Okay, what do you want to know?' So I kept going back to their offices on a regular basis.
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I fill up the well of stories in my head - without ever knowing I'm doing it.
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I apologize for my terrible interview skills. I wasn't prepared to expose stories about something so special and wonderfully private that is happening in my life. I guess a part of me wishes that I'd never have to and that maybe I could protect this special time. I was dreaming.
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I wanted to write a story that demanded the viewer's attention.
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As far as commercials were concerned, I did very few, and I did them only when they gave me carte blanche to them the way that I wanted to. And I did them as an exercise, because I, who do very long films, never thought I would be able to tell a story in 30 or 40 seconds - you come across a whole new system and manner of approaching a subject.
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I would not send a first story anywhere. I would give myself time to write a number of stories.
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I have to deal with seven ex-stray dogs, and one ex-stray cat. One dog is nearing nineteen years old. Before I go to teach, he likes for me to tell him bedtime stories.
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I love telling stories from a kid's point of view because they don't really see all the obstacles in front of them. They're resilient, and sometimes adults can steal that from them.
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There are certain realities about the world we live in. Syria and Iraq are just not going to get on air every day. For us as journalists, we're still trying to navigate this world. Journalism is changing. How do we tell our stories - especially with the wars that have continued for so long? How do we keep it relevant?
