Quotes About Story

There is always a story behind what you like. Like what you like and be happy with what you like but don't ever forget to mind the real lessons from the story behind what you like.

I suppose you can guess the whole story now? After all, it's a primitive story. A man had two enemies. He was a wise man. And so he discovered that two enemies are better than one.

The songs sort of come out spontaneously and it'll take me awhile to figure out what exactly is happening lyrically, what kind of story I'm telling. Then I start building little bridges - word bridges - to make everything go from one point to the next point to the next point until it reaches the end.

The guy who kind of broke the story in 'Spotlight' was a priest, the guy who had sort of done all the research. One of the things he said when one of the 'Spotlight' reporters asked him how he could still remain a Catholic, he said that, 'My faith is in the eternal, and the church is an organization.'

It's my job to accept my youth, to spread my story, to let people know who I am as an individual, because there's so many people who are blinded and think less of me because of my skin color.

There's an awful lot of corruption in Japanese business and politics, corruption of the sort that can make for great setting for a spy story.

I think of 'Liar & Spy' as completely different and actually not at all like a 'When You Reach Me'-type story. I feel like 'Liar & Spy' has a much quieter, more emotional revelation.

When I set out to research the story of the Culper Spy Ring, I had no idea where it would take me.

When you keep telling yourself a lie, at some point you buy your own cover story, like a CIA spy or something.

It is my writing dilemma. The world of spying is my genre. My struggle is to demystify, to de-romanticise the spook world, but at the same time harness it as a good story.

The first movie I worked was called 'The Spirit of St. Louis.' It was the story of Charles Lindberg's life.

The ability to absorb a book and make someone else's words and story your own was exactly was I was doing on stage.

When you're editing, you're putting it together in a way that makes sense metaphysically. You're not inventing it, but you're finding the story that's there. You're making a play that's eventually going to go on stage and present itself to an audience. You want to show what happened, not exactly what you have evidence of happening.

The thing is that my father's story helps to communicate what was at stake with my mother, and my mother and father had so much a partnership that his story is integral to her story, as her story is to his - really, her story can't be told without his story.

The story of a passionate woman in a stale marriage is as old as Helen of Troy.

One of the standard story-generating engines for science fiction is to take something we normally think of as metaphoric and treat it as if it were literal.

'The Daily' from the 'New York Times' - which offers smart analysis of one key story - sets the pace here, and can see you through one standard train commute.

Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.

I am not a spokesperson for the trans community, I am not. The media kind of projects me as being the spokesperson, but from my standpoint, I am not. I am a spokesperson for my story, and that's all I can tell.

The narrative that Peter Jackson has put into 'The Battle of the Five Armies,' it stands alone as a film. Rather than just finishing off the story, it's like a whole new adventure all of its own. I'm very excited about it.

In 1969, 'Life' magazine came up to me and said they wanted to do a little story on the Hobie, and I ended up getting a six-page spread. I remember Robert Redford was on the cover, and when that magazine hit the stands, it was a whole new ballgame.

I try to approach all episodic work the same. No matter the content. I look for a dramatic or emotional spine to the story I'm telling, something that stands out to me thematically about the episode and its relationship to the rest of the season/series.

It's a privilege to be in this position, to have people want to talk to me, to have people want to hear my story and hear what's going on, because it can easily be on the flip side, and no one wants to talk to me, no one respects me one-on-one, no one in the stands wearing my jersey. It's a blessing.

Every man has his excuses, and the more vile the man becomes, the more touching the story has to be. What is my story now, I wonder?