Story Quotes

I've always wanted to play Maria in West Side Story. My idol is Natalie Wood, and I love the movie, so I think a modern-day twist on it would be really neat.

It is true that the movie is perhaps my most politically-charged. The story is thrust into motion by the idea of what do you do when your 13 year old daughter comes home pregnant. And not only is she pregnant, but she wants to keep the baby.

If I could write a story that would do for the Indian one-hundredth part what 'Uncle Tom's Cabin' did for the Negro, I would be thankful the rest of my life.

And the most important thing - apart from telling a good, believable story, and being a true character - is to be someone the audience will care about, even if you're playing a murderer or rapist.

If half-black Barack Obama had decided years ago to call himself white - which his genes certainly entitled him to do - his story would have carried very different meaning. If millions of part-black people had followed him into whiteness, then the N.A.A.C.P. would be in true crisis.

You write a story about loneliness, and you grab them all because everybody's an expert on that one.

They just have a feel about them. And you feel your way through them and you come out with something that's very powerful and mythic. And you don't quite know how you got there. I think this story has a lot of those elements.

If a secret history of books could be written, and the author's private thoughts and meanings noted down alongside of his story, how many insipid volumes would become interesting, and dull tales excite the reader!

If you take my performance or my understanding of the role and my appreciation for story and then dress it in CGI, that I guess becomes an action film.

Those theologians who are beginning to take the doctrine of creation very seriously should pay some attention to science's story.

My book 'Trust Your Heart', which is the story of my life, will be followed by 'Singing Lessons', a memoir of love, loss, hope, and healing, which talks about the death of my son and the hope that has been the aftermath of the healing from that tragedy.

I think cheese smells funny, but I feel bananas "are" funny. I'm assuming Swamp told the whole story of the executives seriously asking us to replace the banana with cheese because they thought it was funnier.

What I learned most was how to tell a story in 15 seconds or 30 seconds or 60 seconds - to have some kind of goal of what to try to do and make it happen in that time.

I think in the old days, the nexus of weirdness ran through Southern California, and to a degree New York City. I think it's changed so that every bizarre story in the country now has a Florida connection. I don't know why, except it must be some inversion of magnetic poles or something.

A Christmas Carol is such a fool-proof story you can't louse it up.

I write the story that nobody reads. Someday, I'm going to write it in German to see if anyone notices.

Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.

I really believe that studying organization, even in the form of studying detective story organization, is very, very valuable for a playwright, a budding playwright.

Anyone can write a story based on the kind of horror where you see a guy in car and then there's the bad guy in the back seat. It's infantile to rely on that for telling a story. That's like going to bed and thinking there's a monster under your bed. It's silly.

If you think you have it tough, read history books.

Although Bill Finger literally typed the scripts in the early days, he wrote the scripts from ideas that we mutually collaborated on. Many of the unique concepts and story twists also came from my own fertile imagination.

In other words, I'd say the whole story of Bob Dylan is one man's search for God. The turns and the steps he takes to find God are his business. I think he went to a study group at the Vineyard, and it created a lot of excitement.

My books are character-driven. They're not driven by the story.

A skillful playwright might have a good time with the story of the assassination of President William McKinley, and especially with the three most flamboyant political figures involved: Mark Hanna, Theodore Roosevelt, and Emma Goldman.

I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.

Being an actor is an extension of telling a story and I loved story telling as a child.

The simple act of telling a woman's story from a woman's point of view is a revolutionary act: it never has been done before.

In the beginning, I would find a character I understood. That was my focus. Not now - but you basically get offered the exact same thing you just did. Which I find hilarious. I did 'The Vow,' and then I had every love story you can imagine thrown at me. And now I'm getting offers for comedies.

But when you get to a song, not only do you have to do a vocal melody, you have to write words and not be redundant and make some semblance of a story.

As a journalist, the details always tell the story.