Story Quotes

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.

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

It's great fun if you get a good piece of writing and you can pretend to be someone else, tell a story that needs to be told, make some kind of connection. I've always fancied myself as a leading man, but I really doubt whether anyone else sees me that way.

Life is a wonderful thing to talk about, or to read about in history books - but it is terrible when one has to live it.

In a typical history book, black Americans are mentioned in the context of slavery or civil rights. There's so much more to the story.

Eventually the story would spill over into the regular media.

In some ways, that's the story of my season - when I wasn't making big mistakes, I was winning races and being on the podium. And when I made mistakes I was still fourth or fifth, just off the podium.

We're going to develop - what we want to do is to provide the viewers with what they want from CNN and that is the news. So when people tune in, they'll get the latest news, but they'll also get the biggest story of the day in depth, as CNN does so well.

A special effect is a tool, a means of telling a story. A special effect without a story is a pretty boring thing.

I do think the story in Halloween 5 is a bit stupid, and there's a lot more blood. They're obviously going to take the Halloween series in a different direction.

I had a director who told me a story about a fan who had commented on how nice it was to see her sister laughing and how happy the show made her. I like to make people happy and make them laugh.

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'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.

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.