Story Quotes

At Home in the World is the story of a young woman, raised in some difficult circumstances, and how she survives. It tells a story of redemption, not victimhood.

Usually when I read something, first of all I'm looking for the story and then when I reread it, I'm sort of checking every part of it to see if every scene is necessary.

The thing is, emotion - if it's visibly felt by the writer - will go through all the processes it takes to publish a story and still hit the reader right in the gut. But you have to really mean it.

Technique is of less interest than character and story.

It's not like I just have to go to Washington and go to the White House everyday, and go to the same press conference at 10 in the morning and then be briefed at 4 in the afternoon, and then get a story on at 6.

The problem became this: We became a caricature of ourselves. We were after light, and it began to look as though we were after heat, not to reveal some information or not to find out the story.

Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.

When 5150 came out rock was king. Post Nirvana and Pearl Jam 1996 is a different story.

'Baby Boy' is one of my favourite films, and Tyrese keeps telling everybody we're going to make a sequel. I mean, we have a story right now but we don't know where we're going to take it.

News is important information that may influence your investments. Noise is talk or buzz or some headline that prevents you from seeing a story clearly. News is useful. Noise is a distraction. Calling what's noise and news after the fact is easy.

I think we do have our true, original stories that work. I can tell you that 'The King's Speech,' which we did, became a worldwide smash because people loved the personal story.

In the writing process, the more a story cooks, the better.

I'm pretty ruthless about that; I think when you sign over your story, you sign over your story.

I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film.

The picture alone, without the written word, leaves half the story untold.

If I had to choose criteria, for me, it's about first the director. I want to be a part of something that's good and intellectually challenging. After the director it's the character and the story. That's the deal for me.

I had just done what she does in the story just about a year earlier - I moved from New Jersey and came to New York and was working at a bar, and you know, trying to make it.

The people who knew me and knew my work and trusted me, they knew then as they do now that I've never fabricated or plagiarized a story. People who know me know I didn't do this.

I've made seventeen or eighteen films now, only two of which have been original screenplays, all the others have been based on short stories or novels, and I find the long short story ideal for adaptation.

Well, I think they're all basically the same story. Every culture in the world has them. When you strip it down and analyze it, it's the young man or girl who goes through a trial or ordeal and hits a very low ebb but manages to get guidance from a Merlin type figure.

The second draft is on yellow paper, that's when I work on characterizations. The third is pink, I work on story motivations. Then blue, that's where I cut, cut, cut.

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

So, when the special effects are at the service of the story and draw you into it, that is really the magic.

There's no dancing girls. We're kinda like secondary to the thing. It's a story about these two guys that are in love with this one girl and how it unfolds and what happens.

If the story is good enough, if it's imaginative enough, if it's moving enough it is going to reach deeper than the level of sheer information and change somebody's life two degrees. That is an enormous achievement.

Supporting characters add depth to a story, and great actors leave their imprint with the audience.

I think my story says that, when women are given the chance and the opportunity, that we can achieve a lot. We deliver.

A song must move the story ahead. A song must take the place of dialogue. If a song halts the show, pushes it back, stalls it, the audience won't buy it; they'll be unhappy.

You have to be really open to your acting partners and believe in the story.

The Western, when I do one, will be one long, continuous story.