Quotes About Story

If tomorrow someone writes a romantic story, I'd like to bring a romantic shade of mine too. When someone puts that trust in you then you can do it.

At Christmas, I am always struck by how the spirit of togetherness lies also at the heart of the Christmas story. A young mother and a dutiful father with their baby were joined by poor shepherds and visitors from afar. They came with their gifts to worship the Christ child.

I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.

'One Minute Mentoring' is written in the parable style Spencer Johnson and I popularized in 'The One Minute Manager.' It's an entertaining story about the mentorship between a young salesperson, Josh, and a seasoned executive named Diane. As the characters learn about mentoring, so does the reader.

Heart of America is a movie I'm very proud of. The young actors are great and the story has impact.

I used the second year of my MFA program to write a young adult novel and began pursuing picture books as well. I loved the economy of this art form, choosing, with pristine attention, the exact right words to tell the exact right story.

I don't think I prefer writing for one age group above another. I am just as pleased with a story which I feel works well for very small children as I do with a story for young adults.

I was a dancer from a young age. My parents were dancers; we were taken to a lot of ballet as children. It occurred to me that what I liked more than dancing the steps was acting the story of whatever particular performance I was taking part in.

When I was a young artist, and I would go look at other artists' career retrospectives, and I was often disappointed with the lack of story line... What was missing to me was the story of where the artist came from and how they got to where they were.

I think that I came of age in the 1970s with my own work, and it was a time of conceptual and process art, and it was very important not to tell a story. If you told a story, when I was a young artist and first came to N.Y., it was, like, an embarrassing way to make art.

I have a memory of listening to Tracy Chapman and just being intrigued by her voice. Even as a young girl, I wanted to know more about her and her story. I felt I was learning about her through her music. That was a revelation to me.

Indian audiences these days aren't really interested in watching a character on screen evolve. They don't want to see a young girl evolve into being a partner and enter motherhood - they are only really concerned about the story. As long as the story is getting interesting with every passing episode, they want more.

Young girls and boys from all around the world let me know their personal story, and I can feel their smile through their words. To be able to look at those comments and just get encouragement from them and know that I am living the life that I'm supposed to is what keeps me going every day.

I've gotten so many messages I could even get emotional thinking about it, but I've gotten so many messages from young kids all over the country that my story's resonated with them.

Well, I think they're all basically the same story. Every culture in the world has them. When you strip it down and analyze it, it's the young man or girl who goes through a trial or ordeal and hits a very low ebb but manages to get guidance from a Merlin type figure.

It could be seen as narcissistic to have your own museum, but for me, it's such a long time ago - I have perspective. That young man in the funny clothes - he's almost a stranger, so I can tell his story.

I've always been drawn to the hard story, the trauma, because I think art can turn it around.

'Grbavica' is first of all a story about love, about love that is not pure because it has been mixed with hate, disgust, trauma, despair.

Patrick Melrose' is a frantically accurate exploration of the addict mind tormented by trauma, magnificently brought to life by Benedict Cumberbatch. At its core, it is a story that has a timeless quality with echoes of Cervantes.

Any character that has a reference or baggage or emotional trauma, I personally feel, leaves an impact.

My story is just my story, and it's not nearly as traumatic as some.

Working on location is ideal because you enter the character and the story. Shooting at a studio near home, there's a certain split. But on location, you forget the real world, and when you come back to reality, just going to the market can be traumatic.

I love traveling. But I haven't had big, transformative experiences while on the road. When I go out on the road, it's to go out and get a story or do a promotional event.

About two hundred or two hundred and fifty years after the death of Grettir, his history was committed to writing, and then it became fixed - nothing further was added to it, and we have his story after having travelled down over two hundred years as a tradition.