Quotes About Storytelling

Women don't have to be defined by others. We have the power to define ourselves: by telling our own stories, in our own words, with our own voices.

My dad knows how to tell a story. He'd make me laugh by doing all the different voices.

I have so many different voices and stories to tell.

For all of my class projects, I somehow turned it into a commercial parody or put on plays. My whole thing was seeing things from a big picture, from beginning to middle to end: making a costume, doing voices, writing a script, making it all happen.

Recognize that the great majority of us aren't trained actors and entertainers. Usually, it's not our faces, our bodies, our personas or our stage presence that sells our books. It's our stories, our visions and our voices.

I think the lesson is that when you give black voices a platform and the opportunity to tell our story, we will tell good stories just like anybody else.

I always encourage other people to share a story and voices. That is so important.

Media gatekeepers - editors, publishers, film studios and the like - need to begin investing in talent behind the scenes, developing and resourcing marginalized voices to tell their own stories. At the end of the day, it's about the story and what will enable the audience to truly see, understand, and know the life and times of the subject.

Every Pixar movie has its own rules that viewers have to accept, understand, and enjoy understanding. The voices of the toys in the 'Toy Story' films, for example, are never audible to humans.

The power of storytelling - of elevating the voices and examples of incredible leaders who have overcome odd after odd - remains absolute.

I have two sisters that are directors: one's in documentary, one's in film. My mother was a writer and a painter, so I've been surrounded since childhood by dynamic women and female voices in arts.

There are tons of talented people out there, and we just don't get a chance to get into this system. I want to be a part of that. I want to help these young, diverse, unique voices tell stories.

On American sets, you work 12-, 14-, 16-hour days sometimes. All that volume over a short course of time can actually be less conducive to telling a story accurately.

When I approached Volume 1 of 'Lucid,' I realized I could tell something that only exists in four issues, or I could roll the dice a bit and approach this as Season 1 of a TV show.

There's no reason my films can't work as hard as VR does to hook an audience and never let them go, so I think that that it turns the volume up a little bit on storytelling. The same way when I was doing commercials and then I went and shot 'Go,' and 'Go' has a level of pace that is unlike any of my other movies.

With 'Brooklyn,' I knew the story I wanted to tell, and I just had a very strong sense that if I turned the volume up a little bit, it could be something really special.

I think all my life's story is condensed in my face. It is neither innocent nor coy. It speaks volumes.

I have in the past acquired a reputation for concocting non-existent writers and unwritten volumes.

I began telling stories as a volunteer in my daughters' school. But I grew up hearing stories from Cuban and Southern storytellers, and I learned a great deal by just being quiet and listening.

Even if an episode is self-contained, the preceding episodes always affect how the audience takes it in.

To me, the most important selling point of 'Roswell' was that the audience has to believe in the characters they're watching.

A film sells feelings.

I want to do sensible films.

The perfect story is one you can retell in three minutes, and every single sentence is interesting.