Quotes About Story

The goal of 'Revelations' is that once it's all done and finished, and you've read all of it, it is its own story.

There's a finite amount of time on this planet for each of us. Sometimes, the only way we figure out how to deal with that reality - knowing that there will be an end to every story, and you don't know how many chapters are left in your book - is by living in denial.

My first love is a wonderful script. It's the story.

I have always believed that an artiste needs to respond to a story first. One has to feel it in order to live it.

There's nothing more exciting than to watch a story break and grow, and to be the first one to present it to the world.

I always try to make the setting fit the story I have in mind.

What is more important is finding the soul of the character, and making sure it fits well into this story. And that it be dramatic and interesting and captivating, because these people weren't entertainers, you know.

Alan Turing is so important to me and to the world, and his story is so important to be told, so it was a big thing to take up, and I was a little petrified. Like, who am I to write the Alan Turing story? He's one of the great geniuses of the 20th century - who was horribly persecuted for being gay - and I'm a kid from Chicago.

I wouldn't say I'm personally trying to transition from comedy into drama. I don't look at things like, 'Oh, I need to do a drama now.' I get a lot of material sent to me, and if I feel like something has the creative integrity and the right director and the right whoever involved, the right actors and is a great story, then I do it.

My whole story is straight mythical. It's tangible, but it's also what life could be.

I'm sure everyone has a cool story behind how they got into Formula One, but, for me, Perth, you know, not only in Australia is it detached, but it's detached from the whole world.

'The 100' gave me this platform I never expected. I didn't expect the character to become anything. I was originally only signed up to do six episodes, and then it just sort of become this whole story and journey, which was an amazing character, a great journey, so that has been incredible, and I didn't expect anything out of it.

Anybody who sits down to write, and they think 'thriller,' maybe shouldn't be thinking that way. Maybe we should be thinking 'novel,' maybe 'thriller' way in the background, but that these are real people to whom things are happening. It just happens to be a hell of an exciting story.

Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.

There was a reason my first substantial role after rehab was to play a maniac whose personal story ended badly. I knew what it was like to go those dark places. I played a guy who died as a result of his abuse.

'Mulk' is a story of a Muslim family whose one member turns out to be a terrorist. How that family gets cornered and persecuted after that in our society is what it is all about. I have tried to deal with some of the burning issues of our times.

I've found that once people are introduced to Madam Walker's story, they are inspired but also perplexed about why she was omitted from their history lessons.

'ABCD - AnyBody Can Dance' and 'ABCD 2' has succeeded not merely because of dance, but mainly because of its good script. Viewers have loved the story, and that's why my movies have done well at the box office.

A visual always brings a first impression. But if there's going to be a first impression, I might as well use it to control the story. So why not do something like throw a mask on?

For me, a story begins with music: I feel the rhythm, the cadence, the pulse of the characters and their voices and the setting. Because I had just finished writing a book called 'Black Potatoes: The Story of the Great Irish Famine,' I was already filled with the music of the lives and culture of the Irish people, so I thought, why not use it?

I've seen everything from 'Wicked' to 'The Book Of Mormon,' and I don't make any bones of the fact that I love both. But 'Les Mis' is not only my favorite musical, but it's also my favorite story. I love the book, which I read as a kid, and I identified so much with Jean Valjean.

'Wicked Nights' is the story of Zacharel, the new leader of the Army of Disgrace - heavenly warriors in danger of falling from grace - and Annabelle, a human who has spent the last four years locked in an institution for the criminally insane.

There's nothing nicer than a wicked bad person in a story is there? It's fun.

Personally, I see little distinction between an artistic mentality and criminality. You couldn't possibly create a compelling story without some wickedness or some fascination with the disgusting. Being good is a hindrance to a writer.