Story quotes

And in reality, I don't think it's a real documentary. It's more a story of her life. It's a story of survival. It's a story of the time in which she lived. The story of success and failure.

I think we've broken story after story that the rest of the media refused to break even when they had the story because they were scared of the story, or they just didn't think it was appropriate.

I start with the story, almost in the old campfire sense, and the story leads to both the characters, which actors should best be cast in this story, and the language. The choice of words, more than anything else, creates the feeling that the story gives off.

It's rare that I actually have a story in my head. I have events or 'what's the next move?' Like, Maggie, 'where's she going to go in this story, where's she going to end up?' Then the story has to fill in the in-between, and that comes as I'm starting it.

I wonder what it is that the people who criticize me for telling this story truly object to: is it that I have dared to tell the story? Or that the story turns out not to be the one they wanted to hear?

We're not keen on the idea of the story sharing its valence with the reader. But the reader's own life "outside" the story changes the story.

I think there's a great difference in consciousness in that same way in that when we're young we read books for the story, for the excitement of the story - and there comes a time when you realise that all stories are more or less the same story.

For years, I sort of would try to write a story that somehow fit the title. And I don't think it happened for maybe another four years that I actually thought of a story, the plot of a story that corresponded to that phrase.

The unread story is not a story; it is little black marks on wood pulp. The reader, reading it, makes it live: a live thing, a story.

Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.

It is gorgeously shot, and Andrew believes that the old school way of making films in the best way. Meaning: you have a story, and you stick to the story. You don't change and alter the story because of people who've invested in it and what to put product in a shot.

My job is to help the functioning of the story, not to draw attention to myself, but to make my characters function within the story, to work for the benefit of the story, to make the whole thing work.

The story was such that I couldn't make a graceful ending and then make a graceful new beginning. I could have, but I didn't want to. So, it isn't the most graceful way of writing a story. This new story is, I think, is pretty good stuff. I'm pleased with it anyway.

Maybe our telling of the story wasn't as clear as it should have been, but I don't think that's true. In terms of understanding the story, it comes across.

The story of life is quicker then the blink of an eye, the story of love is hello, goodbye.

From the beginning, when I first got an idea for a story and wondered if I could write it, it has always been the story that has driven me.

We are not the originators of the story. I think it's actually the opposite when you're an actor. You're telling somebody else's story.

You have to figure out who the right person is to tell the story. And often, people who are very self-aware will only sound as if they are pontificating if they tell the story.

Story in a game is like a story in a porn movie. It's expected to be there, but it's not that important.

My favorite roles usually have to do with the story, if it's a good story I usually enjoy doing the character.

The story of the human race is the story of men and women selling themselves short.

What writer wants to make compromises with story? Story is the only reason you're in it.

Historians tell the story of the past, novelists the story of the present.

I had the story, bit by bit, from various people, and, as generally happens in such cases, each time it was a different story.

The success of the movie industry comes from the story. And the story comes from somebody putting something down on paper.

Everyone is treating it like a Hollywood story. In Madison, it's a neighborhood story.

Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.

Sometimes I get the start of a story from a memory, an anecdote, but that gets lost and is usually unrecognizable in the final story.

I think it has most to do with the way in which a story is told, whether it feels real either via the music of the telling or the 'honesty' of the story.

I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.

And what it depends on, of course, is whether the story itself is worth the ethical compromise it requires and whether the competition is onto the story.

I tried to stick to my game plan, which was always being aware of what my A story was - the love story between a father and his son, and that son and his daughter.

I think it's a short story writer's duty, as well as writing well about emotions and characters, to write story.

One of the things that I think is such a constant in country music is that the song is so much a story. I believe it is supposed to be based around a story.

We have newsreaders behaving like actors, lowering their voices if it's a sad story, as if we didn't know it's a sad story. There isn't a single cool newsreader.

Let it be understood, in the first place, that a science fiction story must be an exposition of a scientific theme and it must be also a story.

When I was a junior camp counselor and it was my job to tell the campers a bedtime story or devotional, I would tell them a rapture story.

From the beginning, the series has been story driven - I began with a story idea - but research feeds it.

I made the film to bring the story of Islam, the story of 700 million of people, to the West.

I'm an expert on the NewsHour and it isn't how I practice journalism. I am not involved in the story. I serve only as a reporter or someone asking questions. I am not the story.

I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.

I knew there was a story; once you find a dog with a fork through it, you know there's a story there.

The mastery of the turn is the story of how aviation became practical as a means of transportation. It is the story of how the world became small.

I just want to be told a story, and I want to believe I'm living that story, and I don't give a thought to influences or method or any other writerly concerns.

A good short-story writer has an instinct for sketching in just enough background to ground the specific story.

I think the last one would have to be The Godfather because it was such a powerful story. There was lots of violence in it but I could take it because I thought there was a reality to it. It wasn't gratuitous, it was just these guys' story.

My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.

You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it's going to be about something and it does the opposite.

I sketched out a rough story for them and the director said, well it's a good story but we have the go-ahead from Universal to make this script and did I want to do it. I said no, and they left.

Well, if you look at the whole story, I mean there's only Jews and Romans in the story. I mean I just wanted to flesh that character out and make that a drama about the people around Christ when he was going through this passion.