Explore Quotes on Stories

There are some films that you know will do well. Then there are others which have good stories that ought to be told. But because they are slightly risky, not everybody is willing to take that up. But I think it is important to take risks because at the end of the day, you want to explore new genres and new characters.

True to life stories are being written, which is great. These stories touch the heart of the audience.

I think the more you can kind of decrease yourself and kind of increase other people's stories and give them the light, I think that's what it's all about. Whether it's community service or giving back to the community in different ways or helping people, it's not about yourself.

When it all boils down, it's about embracing each others' stories and maybe even finding that synergy to collaborate for the common good.

'Sunshine' is really an experiment for me to see if I am a filmmaker beyond having my own stories to tell.

Nobody knows why we're alive; so we all create stories based on our imagination of the world; and as a community, we believe in the same story. In India, every person believes his/ her own mythosphere to be real. Indian thought is obsessed with subjectivity; Greek thought with objectivity.

Medical training taught me the art of breaking down the complex maze of stories, symbols and rituals into clear systems. You could say that it helped me figure out the anatomy and physiology of mythology and its relevance in a society more incisively. How is it that no society can, or does, exist without them?

I write on sacred stories, symbols and rituals of all cultures - European, American and Chinese - but my audiences, typically, like me to focus on India.

We go through life owned by the stories we tell ourselves which are often historic and charged narratives - things we've learnt since childhood that we don't even consciously realise are going on.

I'm very interested in how we take ownership of our own stories and our own lives.

I shot 'Blue Valentine' on 16mm for the past, and for the present on the Red Camera. I feel that both formats are valid. The stories should dictate the format we shoot on. Filmmakers should have a choice.

Seeing 'The Gospel According to St. Matthew' was an extraordinary experience because it made me realise that all the biblical stories and images I'd ignored as a child had sunk in by osmosis. I saw that my childhood was deeply rooted inside me.

The stories we are told shape the way we see the world, which shapes the way we experience the world.

I love stories, and as I got older, I realized how important what happened yesterday is to how you try to make your present better.

I like discovering stories where I'm laughing and I'm learning. It's like, 'How was I never taught that in school?'

I was kind of reflecting on my life and certain experiences, and you know, when I'm teaching and coaching my partners on 'Dancing With the Stars,' I sort of use those stories and anecdotes to help them sort of overcome certain fears.

Knowing that we were doing good work and the stories were good. They were original and charming. They weren't particularly violent or sexy or any of that. They were just unique and that had a good feel to it.

Good teaching is creating really interesting generalizations out of war stories.

I see the tool set being the same and maybe doing virtual movies and that's fine for some stories but not for others. And maybe make all CG movies but they are already doing it.

People want good stories.

I would love a combination of action/adventure and... love. And stories told with heart. I would like people to be invigorated as well as moved. People to see the movie and see that. I love to play, y'know, well-rounded characters.