Quotes About Story

Freedom is a universe of possibility. And the choice you make, between hating and forgiving, can become the story of your life.

And the choice you make, between hating and forgiving, can become the story of your life.

Every free minute is a short story with a happy ending.

And of the Witch? In the life of a Witch, there is no after, in the ever after of a Witch there is no happily; in the story of a Witch, there is no afterword. Of that part that is beyond the life story, beyond the story of the life, there is-alas, or perhaps thank mercy-no telling. She was dead, dead, and gone, and all that was left of her was the carapace of her reputation for malice.

It's the place of the story, beginning here, in the meadow of late summer flowers, thriving before the Atlantic storms drive wet and winter upon them all.

If I thought there was any hope of turning 'World War Z' into a movie, I wouldn't have written it as a giant, epic, global story, because that requires a giant, epic, global budget.

By interviewing at least one veteran, you can preserve memories that otherwise might be lost. My uncle was a downed fighter pilot and P.O.W. in World War II, and I am looking forward to recording his story for inclusion in the project.

To me, it always comes down to character and script and then director. If a character belongs to me, it's mine. We belong to each other, and I feel a fierce need to tell that story, and it just so happens that a lot of these characters have been residing in pretty dark worlds.

My definition of an adventure game is an interactive story set with puzzles and obstacles to solve and worlds to explore.

We want 'McMafia' to be a tense gangster story but also a family story. It's a collusion of those two worlds.

I wanted to write a story set in the Lovecraftian universe that didn't gloss over the uglier implications of his worldview.

I've been intrigued by 'Le Monde' ever since work took me to Paris once, and I noted that on a day when there was some huge worldwide story, the paper led its front page on some cabinet changes in Turkey. It implied a magnificent disdain for the quotidian folderol of mere news.

I noticed that 'Lost' had sort of worn out our welcome; because of 'Lost,' audiences were no longer being patient with slow reveals: they wanted answers quickly, and they wanted story to develop much faster.

I was hesitant to do 'Mulan II.' For me, I felt like the story that needed to be told, this legendary character of Mulan, was already encompassed in the first movie, and I was worried they would try to create this crazy cartoon character out of this legendary character of China.

Some directors can become concerned when it comes to music, because it's the end of the process and they're tired. They're worried that the music will intrude or waste something, that a composer will overwhelm the story.

The two have to go hand in hand - the atmosphere and the music. I actually get rather worried if I can't see the music first. There always needs to be a mood, a feeling, a story, even if it is abstract. There's got to be a narrative to guide things before they're even created.

The way games are designed is you create a story, and then you create an obstacle course inside that story, and the player has to endure it to see more. So it's artificial. Game designers are so intensely worried about people getting bored that they pile on busy work for players to do.

Literature more often tells the story of impulses we don't act on than of ones we do. I could joke about the Cain and Abel story with my brother without expecting him to be worried, though it's always possible he was more anxious than he let on.

When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.

Some people probably think me telling Godard's story is blasphemy. My friends were worried. But he's not my hero or my god. Godard is like the leader of a sect, and I'm an agnostic.

If you are, as an actor, are just worried about looking pretty and being well liked, then I personally feel you are doing a disservice to your audience, the craft, the creative process, writers, and directors. Your job is to tell a story and to tell the truth, and we can't always be the most likeable character in every situation.

Crime is one of the leads of the show. If there's ever anything that deals with a character's personal life, you don't have to worry about it getting too crazy. People don't have to worry about character arcs. Each episode is a self-contained unit.

Once a novel gets going and I know it is viable, I don't then worry about plot or themes. These things will come in almost automatically because the characters are now pulling the story.

It's true about the eyes being the window to the soul. Your face can be etched with worry, and twisted by ageing, but the eyes tell the true story of who you are.