Quotes About Story

'Bombay Velvet' is my most romantic film, it's my 'Titanic' or 'Gone With The Wind.'

Thinking about making a love story without music was really frightening, Sciamma admitted. Because every love story we know, we think about 'Titanic' we think about the music, we think about 'Gone with the Wind' we think about the music, we think about 'E.T.' we think about the music, and every love story has its own tune, 'That's our song.'

We made 'The Wind That Shakes the Barley' about the war of independence and the civil war, which were the pivotal moments of Irish history, really. 'Jimmy's Hall' would seem to be a smaller story 10 years later.

Whether it's 'The West Wing' or anything else, my first thought is always, 'What's a good story?'

I'm a Clevelander. I've spent the majority of my adult life here. Every day when I come to work, it's 'Let's turn this team into a consistent winner.' Because it would be such a special story.

'The Theory Of Everything' was a charming story, but I never dreamed it would turn out the way it did, winning all sorts of awards, and I don't think anybody working on it did.

Comics don't work if the story is all in the text and the images are illustrative. It's hard to have enough faith in the artists to allow them to do their job.

For Russians, to whom Pushkin's poem 'Eugene Onegin' is sacred text, the ballet's story and personae are as familiar and filled with meaning as, for instance, 'Romeo' and 'Hamlet' are for us. Russians know whole stretches of it by heart, the way we know Shakespeare and Italians know Dante.

I have one rule when adapting any text: nothing gets added; all the words are the original author's own. But in the ordering and recreation of the story, I can do as I please, and to me, the heart and the point of 'Dracula' is appetite.

The novels take longer to write than the picture book texts, and they do take a different sort of concentration. However, a very short, simple story that works well is just as exciting to me as any longer and more complex book.

I come at it from a different angle of attack with each novel, searching for the technological texture the story demands. There isn't a recipe; it's more of an instinct.

Writing has certain advantages; film is another way to tell a story. An experienced filmmaker will take what she needs from the book and leave out other things. With adaptations, you never get the texture of the writing: it's a different mode.

Of course I want to have a deliciously seductive story on the surface which will keep people engaged and amused, but primarily, I'm interested in other things. It's the texture of any given moment that fascinates me: what is really going on between people or in somebody's mind.

There's the way modern music is produced, which is, 'Here's a piece of music, and I'm the producer, so pay me and make sure my credit is right and get me my splits.' But I'm trying to go backward. Now, it's more like 'What's the texture? What's the over-arching story?' There are more things to pay attention to than 'Is this the right snare?'

I'm grateful to HBO for telling my story, and I'd like to thank everyone for their ongoing support.

In a lot of films, forever it's been boy-meets-girl, and thank God for films like - I know it's going to sound ridiculous - 'Frozen.' I was so excited for my daughter to be able to watch a love story between two sisters instead of some stupid prince.

It is the greatest reward for me to share my story, my art, and my work. And people receiving that and being thankful and grateful, it once again resonates deep within because it reminds me that I am so much bigger than being a drag performer.

As an artist, you're thankful to get a shot at a story more than once, because it doesn't happen all the time. Whether you talk about 'Hamlet' or 'Death of a Salesman,' you always want to see what the next group of actors will do.

Making 'The Invitation' and waiting to make it on my terms and getting final cut and doing it the way I needed to do it was incredibly challenging, but it has really been so great for me. I'm so thankful that that's happened, that I got to work with actors I really like and have just such a good experience in delving into that story.

My story. My past. I don't want to forget that. I want to think about it and be reminded of it so I can be thankful and appreciative of everything.

You'd have to have one hell of an imagination to completely make up a story, but historians are very anal about what they think should be portrayed on screen. Thankfully they don't make movies; we do.

I don't have the energy or the mental security to get involved with all that. I think it's a good idea to be able to disappear into the story, so that the first thing the audience sees isn't you, but the part.

The first thing, when I read the script, is that I need to care about what happens and feel compelled by the story and engaged by the characters. It needs to resonate with me, even if what the characters are going through is not something that I have experienced in my life. I have to feel like it has some sort of meaning to me.

I wanted to make sure that 'Up' wasn't a 3D movie about a man who sails his house to South America. It's a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.