Story Quotes

It's probably why I'm a short story writer. I tend to remember things in the past in narrative form, in story form, and I grew up around people who told stories all the time.

I don't have a story about an epiphany in which I suddenly realised I wanted to be an actor. It was much more a case of the idea dawning on me gradually.

Success is like a liberation or the first phrase of a love story.

Life is too short for a long story.

It's not an epitaph. I felt I could look back at my life and get a good story out of it. It's a picture of somebody trying to figure things out. I'm not trying to create some impression about myself. That doesn't interest me.

Everything has to be pulling weight in a short story for it to be really of the first order.

It's almost like these games are the modern day comic books, especially when you play Alone in the Dark. There's a real story that goes along with it and a movie seemed like the right kind of transition to make.

People who were more concerned with themselves and looking good to their readers then they were with the characters sacrificed a series for the sake of a story.

When I went to Bosnia, I was there to tell someone else's story and I was more methodical.

The story of my life is about back entrances, side doors, secret elevators and other ways of getting in and out of places so that people won't bother me.

When I went to Hong Kong, I knew at once I wanted to write a story set there.

I have a musical called Goodbye and Good Luck, based on a Grace Paley short story. I also have King Island Christmas, and there are 20 different productions of it this year.

A story is told as much by silence as by speech.

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.

If you've heard this story before, don't stop me, because I'd like to hear it again.

If you want to get an education in how to get a story and how to survive, then get a street reporter job in New York City.

Racial history is therefore natural history and the mysticism of the soul at one and the same time; but the history of the religion of the blood, conversely, is the great world story of the rise and downfall of peoples, their heroes and thinkers, their inventors and artists.

I look at the film as an opportunity to see some bountifully creative minds do something that I could not do - tell the story with images. I can't wait to see what they do.

I always liked the Van Gogh story because I was terribly involved in that.

I describe my plots as follows; A character is walking down the street when all of a sudden a piano falls on them. They spend the rest of the story digging out from under that piano. How they dig, how long and how well, this all depends entirely on the character.

I struggled to learn basic skills, get a grip on markets, find my own unique voice, create story lines and come up to speed with the industry. I struggled for ten years before having any success.

Yes, there is a story about Agent Orange, and we knew that it harmed our troops and we knew how long it was to get the medical community to accept that, the military to accept it, the VA to accept it.

If I can get a story about a player, I would give you a ship load of numbers, batting averages and all just for that one precious story. That's the kind of thing that I love to do.

Whenever people are excited about 'My Girl,' I always think if I met the kids from 'The Neverending Story.' I would probably be the same way.

The biggest thing is to let your voice be heard, let your story be heard.

What I've realized is that a film operates both on the intellectual and emotional levels, and if you can find a way to tell a riveting story and draw ideas out of that, it's very powerful.

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.

The so-called commercialism includes elements like story, plots, rhythms and large big scenes.

What we're doing with Band of Brothers is trying to put it into human terms, so it is not just a flickering, black and white myth on a screen, it is a resonant story. I want the audience to recognize themselves in these men. They're not just mythic heroes.

The love scenes that worked, regardless of the director, were the ones where the actors weren't fearful. When somebody was fearful, you could see it right away. It takes you out of the story, and that's to be avoided at all costs.