Quotes About Narrative

It's a long story. Do you want to hear a long story?

Whoever wins, that's who decides the history. We act in our own self-interest.

You know the greatest lesson of history? It's that history is whatever the victors say it is. That's the lesson. Whoever wins, that's who decides the history. We act in our own self-interest. Of course we do. Name a person or nation who does not. The trick is figuring out where your interests are.

You know the greatest lesson of history? It's that history is whatever the victors say it is. That's the lesson. Whoever wins, that's who decides the history. We act in our own self-interest. Of course we do. Name me a person or a nation who does not. The trick is figuring out where your interests are.

You know the greatest lesson of history? It's that history is whatever the victors say it is. That's the lesson. Whoever wins, that's who decides the history. We act in our own self-

what I really wanted to do was write a story that was all backstory, in which multiple protagonists, none of whom are exactly likable, wake up, tell lots of different stories inside the story, argue significant moral points, then wake up a second time and realize the whole thing was a dream.

You know the greatest lesson of history? It's that history is whatever the victors say it is. That's the lesson. Whoever wins, that's who decides the history. We act in our own self-interest. Of course we do. Name me a person or a nation who does not. The trick is figuring out where your interests are.

You know the greatest lesson of history? It's that history is whatever the victors say it is. That's the lesson. Whoever wins, that's who decides the history.

Thucydides is the greatest writer of history in history. In fact, he is so good that we are trapped inside his version of events.

A person's identity is not to be found in behavior...but in the capacity to keep a particular narrative going

It's strange when you think about it. There are hundreds and hundreds of murders in books and television. It would be hard for narrative fiction to survive without them. And yet there are almost none in real life, unless you happen to live in the wrong area. Why is it that we have such a need for murder mystery? And what is it that attracts us? The crime, or the solution? Do we have some primal need of bloodshed because our own lives are so safe, so comfortable?

You write about me and I will make sure that all hell comes in your direction. I have my life. I have my experiences. And you have no right at all to appropriate my story, turn me into a cultural stereotype, simply to embellish your own view of the world.

I just want to be a free writer. I think I am serving my country and my people by providing an independent narrative.

Anybody, providing he knows how to be amusing, has the right to talk about himself.

There's a difference between telling a story and not providing an explanation because you just don't do it well or pull it off.

I became an actress to provoke people and move people and to tell the stories.

I really feel that I've been unjustly exorcised from the story of psychedelic music.

One of the reasons why Gadafy's dictatorship has managed to remain in power for so long is not just because it has shown itself to be able to exact a great deal of violence, both psychological and physical, on its people, but because it has been very successful at imposing a narrative, a story.

I realized that we don't travel in such a linear way anymore but rather jump from one point to another and back again. So I got this idea for a 'constellation' novel recounting experiences that were separate from each other but could still be connected on different psychological, physical and political levels.

You read a script, you try and think through what is the best, most wide-ranging way of telling the story: who stylistically, character-logically, psychologically fits inside the world of what you're trying to do. A lot of it, when you're casting, is trying to get yourself in the head of a director.

I did grow up in a household where the narrative was about public service and how are you going to effect change and help people. I'm so glad I grew up around that narrative, but I never had the calling to go out and shake hands and try to get elected.

Irish music in the local pubs was my first exposure to musical expression, and I feel like Irish music is very close to musical theater because it is always telling a story.

I wouldn't put myself forward to do a film like 'Changeling' if I thought I couldn't pull people into a story because of all the other ways people see me.

My main problem with fiction is that once my characters get moving, you just have to follow them along and get out of the way of the story, but sometimes they pull me in too many directions, and I need to focus.