Quotes About Storyteller

A first-class storyteller

I said that one of the stories in the Arabian Nights is specifically about the urge to tell a story. It's primal, the need to tell. It's not about the listener but the storyteller. In some cultures, not telling your story is regarded as a sign of mental illness.

The folktale must be re-created each time. At the core of the narrative is the storyteller, a prominent figure in every village or hamlet, who has his or her own style and appeal. And it is through this individual that the timeless folktale is linked with the world of its listeners and with history.

Messia, like a typical Sicilian storyteller, fills her narrative with color, nature, objects; she conjures up magic, but frequently bases it on realism, on a picture of the condition of the common people; hence her imaginative language, but a language firmly rooted in commonsensical speech and sayings.

A viewer's imagination is a powerful storyteller, and can often come up with things way more frightening than what you can explicitly show in a horror movie... try to engage that imagination, and the results can be magical.

I think of myself... as a troubadour, a village storyteller, the guy in the shadows of the campfire.

If a film is suitable for family viewing, it should remain so, and if a film has some adult content, it should remain so, and these genres should never be mixed and spoil the vision of the story teller.

I approach film no differently than I approach a role. I want to make sure the movie is right, the characters are right, I can really bring something to it as a visionary, a storyteller. It's great to point a camera, but can you tell a story?

Mary reached into her vinyl purse and extracted one of the novels, each of whose covers had promised laughter and tears. She began to read and, finding a masterful storyteller behind its pages, was instantly and gratefully transported to another place.

O it does fascinate me so, my new-old-new friend, to compare our lives. Of course I am really not an artist or a writer tho' I am a story-teller. I am a born orator and even now I long & long & long for The Platform as an old circus clown longs—or as we pretend he longs for the Ring! On the platform and there alone I am really myself & in my element & now I have been away from the platform for 20 years!

The film itself involves a New York City radio storyteller, Gabriel Noone, who strikes up a friendship with one of his fans, an abused 14-year-old teenager who is suffering from AIDS, who does not have much longer to live.

remembered the words of the man in the brown suit, and how they had echoed around the rafters of my rooms under the eaves. Yet the man in the brown suit was a figment of her imagination. I should have expected it. She was a spinner of yarns, wasn't she? A storyteller. A fabulist. A liar. And the plea that had so moved me—Tell me the truth—had been uttered by a man who was not even real. I was at a loss to explain to myself the bitterness of my disappointment.

When we watch the news, we grieve all of this, but when we go to the movies, we want more of it. Somehow we realize that great stories are told in conflict, but we are unwilling to embrace the potential greatness of the story we are actually in. We think God is unjust, rather than a master storyteller.

If a storyteller doesn't clearly let an audience know what no-good, terrible, awful thing might befall their hero unless she overcomes her challenge, the story will have no stakes, and a story without stakes is boring.

Doesn't every town in America have an old-timer called The Professor? That duffer who knows everything and everybody, as long as they are dead.

I was thinking I had noticed a curious lack of either enthusiasm or bitterness in the account of the world by Theobald's sister. There was in her story the flatness one associates with a storyteller who is accepting of unhappy endings, as if her life and her companions had never been exotic to her—as if they had always been staging a ludicrous and doomed effort at reclassification.

Growing up with three brothers and three sisters, I was the storyteller of the family... what my mother called 'The Liar.'

Oh! The story-teller! Oh! The flatterer! Oh! The false one! The cunning rogue! Oh! Molière!" (This was the only writer's name that she knew, but she applied it to me, meaning thereby a person who was capable both of writing plays and of acting them.) "Céleste!" came the imperious cry from Marie, who, not knowing the name of Molière, was afraid that it might be some fresh insult.

I find that in life, even the most unsympathetic person has a clear delineation of his motives, however complex and unappealing, but to him, there is a moral clarity to his actions. I think part of my job as a storyteller is to recognize the congruity or incongruity of his motives and behavior and somehow still be fair to the character and to the reader.

[The art of the novel] happens because the storyteller's own experience of men and things, whether for good or ill—not only what he has passed through himself, but even events which he has only witnessed or been told of—has moved him to an emotion so passionate that he can no longer keep it shut up in his heart.