Quotes About Story

One great inconvenience of death, according to Roland, lay in being removed from the story. Having followed it this far he needed to know how things would turn out.

The practice of shaving makes its first appearance in the Bible in connection with the story of Joseph, who as a young man was sold by his brothers into slavery in Egypt, where he was subsequently imprisoned on false charges.

I intend to inspire people with my story: motivate young people that grew up like myself, or even not like myself. Just, you know, go through the human experience.

For that story, I took as my subject a young woman whom I got to know over the course of a couple of visits. I never saw her having any health problems - but I knew she wanted to be married.

You know, when you make something in live-action, you make it real. And when you are inspired by and determined to honor the original - the most original version of the 'Mulan' story - then you have to acknowledge that this is a story about a young woman who disguises herself as a man and goes to war.

I wanted to write a sci-fi story that would appeal to young women. Loads of girls like sci-fi, but it's more culturally associated with guys.

I think playback singing has a lot to do with voice acting. I would suggest to all the youngsters to understand the character, situation, and the story behind the songs. That is when you can add soul to the rendition which, I think, is missing in today's music.

If you want a happy ending, that depends, of course, on where you stop your story.

You want to have a feeling when you sing that you just love singing; you love the feeling of singing, and you love this feeling of this voice coming out of your body into this world. It's about really getting that most beautiful, pure, centered tone, thinking about the story of each song and the lyrics, and connecting your own life to that story.

When I was dancing, whether it was the music or the story, the question was 'Why am I doing this piece, and why am I dancing?' It is exactly the same when you are acting. You have a very close relationship with your body movement. You have to find the physicality of your character.

Everybody - every single person - has a story. Find yours and tell it in your voice.

No matter how close to personal experience a story might be, inevitably you are going to get to a part that isn't yours and, actually, whether it happened or not becomes irrelevant. It is all about choosing the right words.

The fear that you come to a show called 'American Horror Story' with is yours. That being said, I'm glad people are afraid, and I hope that I'm contributing to their fear. I'm really not afraid of my own darkness anymore. I'm not afraid of what I'm capable of.

In 'Yours Truly,' I was the centre of the story; I was the protagonist. There was a lot more happening inside the mind of the character which was not projected loudly through dialogue and action... As a performer, playing such a nuanced, internal character is challenging.

My life has been such a blur since I was 18, 19 years old. I haven't even had time to contemplate my own life. By forcing yourself to write your life story you learn a great deal about yourself.

Whatever you perceive, you always make a story with yourself as the main character, and that dictates your life. Then when you read 'The Four Agreements', you hear another voice beneath the story, the voice that comes from your integrity, your spirit.

One of my favorite books was 'The Book of Immortality' by Adam Leith Gollner, which talks about cheating death and life extension and frames with a story that David Copperfield finds a fountain of youth on an island he bought.

I really wanted to write an adventure story, a murder-mystery that was set during the gold-rush years in New Zealand.

You know, and it really doesn't have a lot to do with the movie. That's the trick to doing a good musical is that, if you take that music number out, there's less to the movie there. You would miss it.

The trick to making a story matter is that every now and then, somebody you care about has to go. If it's somebody that you don't care about, then it doesn't really have - the stakes aren't there. But if you do that every now and then, then the story matters to people. And there are actual stakes involved, emotional stakes.

I think the tricky balance, the most important thing more than the horror is to have a compelling story, compelling drama, a show about great characters that you care about and you want to come back every week to see what they're up to.

When I started, I was an artist; I wanted to be an artist. I became an actor almost by accident. I acted for fifteen years and tried to produce. I looked for stories that were the story beneath the story that you thought you knew, like 'The Candidate'.

I've tried, in 'Bloodmoney,' to tell a story that gets at the crazy relationship between the ISI and the CIA, these absolutely fascinating, often mutually destructive two scorpions in a bottle kind of relationship that they have.

The time frame is summer 1961, a year after the gold medal in the National Science Fair. I always saw my 'Coalwood' books as a trilogy. This book finishes the story of my life in Coalwood. I think it's the best of the three.