Quotes About Story

'Top Of The Lake' is a great story with a beginning, and a middle and an end, about darkness - it's like the heart of darkness. And everybody has got one. When I was reading it, I couldn't put it down, and I wanted to know what was going to happen next.

If you watch 'E.T.' and say that there are holes in the story because this alien lands, then don't go to the movie! It drives me insane.

All good, clean stories are melodrama; it's just the set of devices that determines how you show or hide it.

With 'Carol,' I was just really looking at and thinking about the love story as a genre, not the domestic melodrama.

If you've got a good melody and a good story married together, that's a good sign for hit-song material.

I think that when memoir goes wrong, it goes wrong from too much memory, too much detail. It's about clearing all that away and just getting to the story.

My memoir is a story of family and childhood, and everyone has had one of those. Mine is not the definitive version of childhood, but it's a great way to start a conversation.

'Working Class Man' is my second memoir and is a continuation of my story from where 'Working Class Boy' left off. The book is really an attempt at explaining the impact of my childhood on myself and the ones I loved as an adult.

It seemed like most of the memories faded before they had time to form. And after a while, my life with my father seemed like a familiar story or a distant dream.

It took me 14 years to write 'Crazy Brave' because I kept changing the form and I also kept running away from the story. I said I don't really want to write about myself. But it's about writing about memory.

For me, clothing is nothing without the story behind it. Everything I own evokes some kind of memory.

It's true that films are made on mere calculations such as fight and item song. If the audience is lucky enough, there will be some story.

I get asked about my weight endlessly. There is no story. It doesn't merit so much talk.

'The Little Mermaid' was a really great experience.

Messages hidden in the thickets of a story are the ones that burrow deepest because most of us don't realize that any burrowing is going on at all.

I fear dying in the middle of a book. It would be so annoying to write 80,000 words and not get to the end. I'm phobic about it. So when I'm writing a book I leave messages all over the house for people to know how the story ends, and then someone can finish it for me.

My character Milly in 'The Boy Who Could Fly' was a very strong part. There were dramatic moments, and there were humorous moments, too. The whole story with Eric Underwood's character was just wonderful, and the messages behind the script were very important to me.

Messi's career is a cinema script.

I know that I'm going to die and that you're going to die. I can't do anything about that. But I can explore it through a metaphor and make a kind of funny, dark story about it, and in doing so, really exhaust and research as many aspects of it as I can imagine. And in a way, that does give me some closure.

I just want to be told a story, and I want to believe I'm living that story, and I don't give a thought to influences or method or any other writerly concerns.

I knew the story of 'War Horse' very well. I had read the book even before I did the auditions. I'm a big fan of Michael Morpurgo.

The point about a great story is that it's got a beginning, a middle and end.

Midnight Mass' is kind of my baby; I've been working on that for six years. I started writing it while 'Oculus' was in preproduction, and it's a very personal, scary little story.

Our pasts so many times determine the value of what is happening today. Everybody is midway in their story.