Quotes About Story

I would like to do a music person's story, a bio. I've wanted to do Aaliyah forever. But I don't want it to always be like, 'I'm singing again in a movie.'

Don't get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That's a story. Handled properly, it's more dramatic than any apocalypse or goblin army could ever be.

I love singing for films because there is a story to the song; it takes you down a new road.

Every single film I've done, it's about the character.

I know as a consumer I want a story. I want a defining - I don't want just an album full of singles. I want to get to know the artist beyond what everyone else can hear on the radio.

Some of my favorite films are musicals, like 'Walk the Line,' 'The Rose' and 'Lady Sings the Blues.' I just love the way the music and the story fuel each other.

I really don't remember my first meeting with Arif Sir.

I had a director who told me a story about a fan who had commented on how nice it was to see her sister laughing and how happy the show made her. I like to make people happy and make them laugh.

The real love story of 'Fleabag' is the sisters. That's the true heart of the piece.

In British sitcoms, you can get five minutes of nothing before the story starts.

Actually ideas are everywhere. It's the paperwork, that is, sitting down and thinking them into a coherent story, trying to find just the right words, that can and usually does get to be labor.

Behind every piece of paper lies a human situation.

It's really about, oh come on, this guy wouldn't say that or he wouldn't do that, you know, it's about the characters, about the story, about the situation.

When my lady and I sit down and watch TV, I find she gets annoyed at characters because they don't do what she would do in the situation. I'm always like, 'Well, she has to do that because that's what the story is.'

'Band Vaaje' is all-in-all a comedy film. But all comic scenes are situational. The jokes are not just for the sake of punches. The film has proper story which we are sure that audiences will love.

The 'Story of Silent Night', which was given to me one Christmas when I was six - it was the story of a down and out composer who had no ideas left, and it was Christmas, and he came up with the hymn 'Silent Night.'

When I heard that 'Roots' was being remade, my first response was, 'Seriously?' I was a bit skeptical. Then I had an audition in early 2015. I didn't know how to feel about it. I was a little scared of the responsibility of telling the story again with the weight of the first one behind me - I was scared of comparisons.

I love a ghost story. I think they affect me more than other people that are much more skeptical than I am. I think that it's good that I do buy into them to some degree.

I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.

We do long-form-style improv. Our focus was characters and telling a long arc story over about an hour and a half. It was closer to a one-act play than one-off sketches.

The story follows the whole family. But pretty much all the characters who are in jail have written a book about it, so you've got their perspective of it, however skewed they want you to see it.

The rivers flow long distances and their goodness spreads all over far and wide. We are far from each other but our love for each other is creating a story that will forever be remembered.

In the play we have the messy he-loves-her, she-loves-him, she-loves-him-too structure, and, to add even more confusion to the mix, the real love story is between the two ladies.

I've traveled around the world and made love with many satisfied women. So I decided to share my story.