Quotes on Story

Sometimes people make it seem like you have to have certain prerequisites or a crazy life story in order to be successful in this world. But the truth is you really don't.

Everybody's story of getting into the industry is just as difficult as the next person. Whether you come from money or no money, it's not easy... you have to offer yourself; you can't expect someone to get you.

'Selma' is a story about voice - the voice of a great leader; the voice of a community that triumphs despite turmoil; and the voice of a nation striving to grow into a better society. I hope the film reminds us that all voices are valuable and worthy of being heard.

The main thing that I learned from editing is that most people, when they're making a film, they start too early into the story. They will try to set up the characters, they will try to establish things before the plot actually starts.

You can have an interesting story about a person living an interesting life. And if it's done well, that is just as engaging as the end of the world. A million people dying - we can't process. One person, we can process.

All the writing elements are the same. You need to tell a good story... You've got good characters... People think there's some dramatic difference between writing 'Little Bear' and the 'Hunger Games,' and as a writer, for me, there isn't.

For me, arguably the story of telomeres and telomerase began thousands of years ago, in the cornfields of the Maya highlands of Central America.

We know so much about the European food story, and we're getting to know about the American food story; but we know so little about the African food story.

We encourage our people to build their ideas from scratch, and we give them the resources - and, crucially, the candid feedback - that are required to transform the first wisps of a story into a truly compelling film.

The best and most sustainable love story for markets is one based on a healthy and dynamic real economy that creates jobs and opportunities for many more people.

I wanted to be of service to the Peace League, and how could I better do so than by trying to write a book which should propagate its ideas? And I could do it most effectively, I thought, in the form of a story.

I had the feeling that focusing on objects and telling a story through them would make my protagonists different from those in Western novels - more real, more quintessentially of Istanbul.

If you're a film composer, you have the music tell the story of the character.

I think that there are real concerns that we have around whose life is important and why. So if the official story is, for example, somebody was running from the police, does their life matter?

I'm a storyteller; that's what exploration really is all about. Going to places where others haven't been and returning to tell a story they haven't heard before.

The epic story of the West is the development in the 19th century of a mass prosperity the world had never seen and its near-disappearance in one nation after another in the 20th.

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

I believe every one of us possesses a fundamental right to tell our own story.

It looks like the writer is telling you a story. What the writer is actually doing, however, is using words to evoke a series of micromemories from your own experience that inmix, join, and connect in your mind in an order the writer controls, so that, in effect, you have a sustained memory of something that never happened to you.

When writing, I'm not thinking about war, even if I'm writing about it. I'm thinking about sentences, rhythm and story. So the focus, when I'm working, even if it's on a story that takes place at war, is not on bombs or bullets. It's on the story.

To continue living, we have to die. That's the story of humanity - generation after generation - that we are going to die. There's nothing dramatic about death except that one loses one's life.