Quotes About Story

A dinosaur out of context is like a character without a story. Worse than that, the character suffers from amnesia.

Behind every small business, there's a story worth knowing. All the corner shops in our towns and cities, the restaurants, cleaners, gyms, hair salons, hardware stores - these didn't come out of nowhere.

Not only is your story worth telling, but it can be told in words so painstakingly eloquent that it becomes a song.

If you can have a great story that people can follow the mystery and get the suspense, and then you have those moments of tension and a splash of visual fun, then you kind of get everything. You get your money's worth.

I would love to sign on to do a movie if it was the right role and if it was the right script, because I would be taking time away from music to tell a big grand story, and spend all of my time and pouring all of my emotions into being someone else. So for me to do that, it would have to be a story worth telling.

For queer people, the personal is very political, just to talk about it in a public space. It's very political just to come out and take up that space and be like, 'This is my narrative. It's not an outsider narrative, and it's not a fetish narrative; it's just my story, and it's worth being told and listened to.'

And what it depends on, of course, is whether the story itself is worth the ethical compromise it requires and whether the competition is onto the story.

I started a novel back in high school. It wasn't very good. It was the opposite of good. The writing itself wasn't too bad, and the characters were interesting. But the story was a mess, and it was full of fantasy cliches. Dwarf with an axe. Barbarian warrior. I don't ever think I'd bother finishing that. It's just not worth my time.

What I'm trying to argue, as passionately as I can, is that the Jesus story isn't worth dying for, it's worth living for. Jesus presents a third way, a way of being in the worth that embraces the Sermon on the Mount, with its challenge to violence and greed.

Marketing has supplanted story as the primary force behind the worthiness of making a film, and that's a very sad thing. It's film only as a function of consumerism rather than as an important component of our culture, and that's everywhere around the world.

In a lot of cases, as in Tom and Nicole's case, the tabloids were about to break the story, so they said just let the news out. And they called organizations such as ours.

I want Tom Clancy, the Maryland novelist, to write the story of the rest of my life.

If I got hit by a bus tomorrow, I get to say I was in a movie.

The first time I drew a Superman story was 'For Tomorrow' with Brian Azzarello in 2004. It didn't really hit me how important it was until I drew a scene early-on in the book that featured Superman crossing paths with a giant, intergalactic space armada.

The first Knightfall story is four issues, and it is extremely focused and intense. People who have read, say, the 'Cats In the Cradle' arc in 'Secret Six' will get some idea of the primal tone of this story. It doesn't let up at all, and it ends in a new place.

When I look at jobs, one of the most relevant questions I ask is, 'Is this something I've done before, or is it a chance to experience a new context, tone and relationship?' I also ask if it's a story worth telling and a character with a reason to exist... someone who reflects the human condition.

A lot of times on our show, 'Shadowhunters,' we have excuses to dawn some kind of sexy black leather attire under the excuse that we're going to fight demons, but it's all part of the tone of the piece and the tone of the story.

It's the same assignment on every part: you want to create a real world, and the tone of it is a little different on each movie. You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.

If the titles are treated in a straightforward way, nobody is really interested. The theory is that in those two or three minutes, you can set the tone for the films, so that when the story begins the audience hits the ground running.

I was told in many places of Osgar's bravery and Goll's strength and Conan's bitter tongue, and the arguments of Oisin and Patrick. And I have often been given the story of Oisin's journey to Tir-nan-Og, the Country of the Young, that is, as I am told, a fine place and everything that is good is in it.

There's a scene where Diana is having her first dinner at Balmoral, my first big scene with everyone. I didn't really know anyone super well at that point. I had this big story to tell about hunting, a real tongue twister. And I just couldn't say it.

There's a reason Tony Stark makes fun of 'Thor,' and mentions 'Shakespeare' in the park in 'The Avengers.' It's great to play high drama and comedy alongside a modern story.

I always try to find a story in the margins of history, but I don't like to do too much that's improbable.

Technology is a major tool in exploring and challenging your creativity, but it can also overtake your creativity... My mind goes very fast, and I can see all kinds of images that would be spectacular on the screen. But they would cost so much money, and would they really make the story that much better?