Quotes About Story

The fact that radio is so hopeless at delivering data makes it an uncluttered medium, offering the basic story without the detailed trappings. But it does mean that if data is important, radio is probably not your place.

The story is always in service to the characters, and is only as long or short, or neat or ragged as it needs to be.

I would like a food/lifestyle show. We're not sure what that is yet. I want to be able to share what I do and how I raise my family. I feel like I have a story to tell. I enjoy talking and listening, sharing ideas and sharing advice.

It is expected that a children's story will raise a difficulty and then resolve it: increasingly, this resolution is so prompt and so resounding that one forgets what exactly the difficulty was.

It's always about finding the right balance between answering some questions and raising new ones to keep your story going.

'Siya Ke Ram' is the story of Sita and Ram as two equally strong individuals, and I feel 'Ramayan' is as much as Sita's journey as it is Ram's.

Like 'Ram Jaane,' 'Mon Churi' also looks at the darker side of life and encapsulates the story of human beings who live on the fringes of society. But the plots are different.

I feel glamour has a legit place on the ramp and in the fashion world. In films, glamour has to service the story.

It was Orwellian. I completely disappeared, and disappeared the same day. It was by early that evening when the Times story ran. That was an overreaction. All human beings under pressure behave poorly.

I love the opportunity to use my full range, and so playing in the comedy 'Black-ish' gives me the opportunity to show my lighter side, and playing in this beautiful, elegant horror story of 'Hannibal,' I get to use my darker and more cerebral side. It's really wonderful.

To me, all these things tell a story, and I find clothespin parts as interesting as 'collectors' furniture.' Good pieces of Shaker furniture are interesting, but only so much. It is the other things and the personal effects that let me feel the Shakers.

Especially with a comedy, you've got the clear cut goal of trying to make a scene funny. It's not like drama where you're trying to achieve some kind of emotion or trying to further the story along. You're trying to figure out what's the funniest way to do something.

I've been in a few films that have been adapted and, as an actor, the amount of resources and things you can gain just from reading the story, as well as the script, are so massive that it's something you just can't put down.

I think the reason 'Sexy Beast' was so good was it wasn't just another run-of-the-mill gangster film; it was a love story.

Television has changed. There's obviously the generic shows, but on HBO and AMC, there are some really great series, so I'm not closed off to television. If there's an amazing role with amazing people and a great story, I'd definitely be open to it.

If you look only as Genesis as an allegory, you have a major problem, because if it's an allegory, then tell me who our ancestor was? If Abraham was real, then from Abraham if Adam isn't real, if it's just an allegory, it's just a story, then what's the real Adam who really fell in a garden and really sinned? Where did we come from?

Individual stories from the Bible had been made into movies, but no one had taken on the arc of the Bible story as one meta-narrative from Genesis to Revelation.

I was a late bloomer. I was 38 when my first book was out and 43 when my first crime novel was out. I had a story that could only be told as a crime story. I think the genre is good; it deals with the fundamental questions of life and death. The problem is there are too many bad crime stories.

I think when you're telling a story from inside of you that's genuine, people connect with it.

Within the mainstream cinema, I feel you can experiment and make sensible films. It's possible to tell a story with characters and emotions which are real, genuine, and which need not be over the top.

Sometimes you get the cynical person saying, 'Do we really need another book set in Nazi Germany?' But I think you just have to ask, 'Is this a story worth telling?'

I was fascinated by the story of FW Murnau, one of the most famous directors in Germany, where I come from.

'Chopper City in the Ghetto' - a lot of it was B.G.'s real story.

The image of a bedsheet ghost standing all alone in an empty house was something I was obsessed with. I really wanted to make a film about that image, and I was waiting for the right story to come along. When it did, I did my best to honor that image.