Quotes About Narrative

AI don't make a big thing out of my race. If you try to preach, people give you a little sympathy and then they want to get out of the way. So you don't preach; you tell the story.

With a film, you just don't have time to build sympathy for the character. But I think we're moving away from that in TV. With TV, you have a little more leeway to allow them to rise and fall and rise again and be much more complicated beings.

We subverted the entire premise of 'Westworld' in that our sympathies are meant to be with the robots, the hosts.

By swallowing the false narrative of systemic racism, we have demonized and criminalized police while turning criminals into civil-rights martyrs.

The stars we are given. The constellations we make. That is to say, stars exist in the cosmos, but constellations are the imaginary lines we draw between them, the readings we give the sky, the stories we tell.

Some women get erased a little at a time, some all at once. Some reappear. Every woman who appears wrestles with the forces that would have her disappear. She struggles with the forces that would tell her story for her, or write her out of the story, the genealogy, the rights of man, the rule of law. The ability to tell your own story, in words or images, is already a victory, already a revolt.

I still think about the letter you asked me to write. It nags at me, even though you're gone and there's no one to give it to anymore. Sometimes I work on it in my head, trying to map out the story you asked me to tell, about everything that happened this past fall and winter. It's all still there, like a movie I can watch when I want to. Which is never.

It seems to me, that this, too, is how memory works. What we remember of what was done to us shapes our view, molds us, sets our stance. But what we remember is past, it no longer exists, and yet we hold on to it, live by it, surrender so much control to it. What do we become when we put down the scripts written by history and memory, when each person before us can be seen free of the cultural or personal narrative we've inherited or devised? When we, ourselves, can taste that freedom.

The narrative of the Bible is anchored to the fact that God became a man so He could prove how much He loves us.

Everyone has a story to tell. You just have to listen.

You cannot be forever watching for the point, or you lose the simplest thing: being a major character in your own life.

What if we are all capable of lying to ourselves? But the story didn't bother Naomi. Instead it reassured her confirming that the stories we tell ourselves have more meaning than the facts. That doesn't make them lies. Seeded with every myth was the emotional truth.

Are the stories we tell ourselves true or based on what we dream them to be?

Hayden] white argues instead for histories that avoid narrative closure and that highlight the contingency of the past ... He points especially to chronicle - a form marked by a lack of closure - as a useful alternative to the narrative. In a chronicle, historians offer an interpretation of the past but simply end the account when they reach the present.

We always need to listen for the untold story.

A need to tell and hear stories is essential to the species Homo sapiens--second in necessity apparently after nourishment and before love and shelter. Millions survive without love or home, almost none in silence; the opposite of silence leads quickly to narrative, and the sound of story is the dominant sound of our lives, from the small accounts of our day's events to the vast incommunicable constructs of psychopaths.

My work as a whole is about excavating and shining a light on pieces of history that not only need to be seen and heard, but that can also add to the conversation about what's going on now.

Separation in culture and arts does nobody any favors except for the people in power. That's just it... So I feel like I'm in the business of challenging that narrative.

Unlike some of the time-travel movies I love, like 'Primer' or '12 Monkeys ' 'Looper' is not about time travel. It's about this situation that time travel creates and the people dealing with that situation. So narratively, the big challenge was to have time travel get out of the way.

No sé en qué momento empezaste a darte permiso de darme por sentada -le dijo ella, siempre a cargo, con el estómago revuelto en la garganta-: no sé en qué momento te comiste el cuento de que tú eres el protagonista de esta historia

After exploring the Life-Rock for a day ("If you've seen one rock, you've seen them all"—Oud), his narrative ends two days into the return journey back to Tharsis.

If we learn from the Gospel of Luke how to read the OT, we will see that the whole story of Israel builds to a narrative climax in the story of Jesus. In

The narrative and theological force of this story is analogous to that of the saying, "Truly I tell you, the tax collectors and the prostitutes are going into the kingdom of God ahead of you" (Matt. 21:31); just as that saying does not necessarily commend extortionate tax-farming and prostitution as continuing practices, so these stories about centurions cannot be read as endorsements of military careers for Christians.

There can be no understanding of the church as community in New Testament terms apart from the prior reality of God's election of a covenant people, as narrated in the Old Testament.