Quotes About Storytelling

We're all born storytellers. It's part of the species. But, more specifically, I suppose a particular combination of sensitivity and trauma made me a writer: an essential disquiet with reality, which required exploration through portrayal.

I think a lot of times, especially for certain stories, photographers travel together for safety reasons, and they also invariably cross paths. But you could have 10 photographers shooting together in the same spot but capturing different images.

'A Fair Maiden' existed in notes and sketches for perhaps a year. When I traveled, I would take along with me my folder of notes - 'ideas for stories.' Eventually, I began to write it and wrote it fairly swiftly - in perhaps two months of fairly intense writing and rewriting. Most of my time writing is really re-writing.

Each of our collections is like a movie. We write the script, and this Sicilian woman who has traveled around the world plays the lead role.

When I was young, I assumed that authors must have traveled the world or done exotic things in order to tell great stories.

If you can sell that you're the King of Scotland, or Henry V on a tiny stage in a studio theater somewhere, then you can probably sell that you're a starship captain or a time traveler.

When I realized I wanted to do more writing and less traveling around the world teaching live seminars, I decided to write the first 'Chicken Soup for the Soul(R)' book. I knew I wanted to have 100 stories in the book, so I wrote or edited two stories a week for a year.

I was undeterred by the danger of traveling as a single American woman through Taliban-governed land. I believed in the stories I wanted to tell, the stories I felt were underreported, and I was convinced that that belief would keep me alive.

I'm a great believer in the novelist being 'on the scene,' reporting, traveling, meeting all sorts of people.

I don't think comedians are better travellers but they are communicators and storytellers.

I like travelling a lot so in all my films, I take the location very seriously.

You do your best to tell your own story, in the most specific way, and then you hope that that travels well, when it's done with heart and honesty.

It is not a very difficult task to make what is commonly called an amusing book of travels. Any one who will tell, with a reasonable degree of graphic effect, what he has seen, will not fail to carry the reader with him; for the interest we all feel in personal adventure is, of itself, success.

It's easy to set a story anywhere if you get a good guidebook and get some basic street names, and some descriptions, but, for me, yes, I am indebted to my travels to India for several of the stories.

We use music, cinematic storytelling and very stylized backgrounds to create mood and atmosphere as 'Samurai Jack' travels an exotic landscape. The environment is a major character in each show.

Hawks is great, 'The Treasure of Sierra Madre,' 'The Big Sleep'... He could do the Salt-of-the-Earth very well. He was a very smooth director; a very good film architect in terms of his storytelling.

I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them, anyway!

When I want to explain why empowering girls and women is critical to fighting poverty, I often tell a person's story. It's easier to relate to a personal story than to global data telling us that the majority of the billion people who live on less than $2 per day are women and girls. We are often told to never treat a person like a statistic.

I want my music to be treated as a book or a movie. It's not about the one single: it's about the bigger picture.

We did so much work developing the character of Kratos, why would we throw all that out? We're sort of treating the first seven games like chapter one of this character's life.

Soils and national characters differ, but fairy tales are the same in plot and incidents, if not in treatment.

Budget makes a huge difference in the treatment of any movie. When the budget is lavish, it helps the creative team to visualise a story on a broader canvas.

I'm a very traditional person. The tattoos are about my grandmother dying and they tell the story about my mother and father, my brothers and my sister, my kids. It's pretty much a family tree on my arm with my life in football too.

To me, cinema is cinema. Cinema is one big tree with many branches. The same as literature. In literature, you don't just say, 'Oh, I bought some literature.' No, you say, 'I bought a novel' by so-and-so, or a book of essays by so-and-so.