Quotes About Story

Marketing has supplanted story as the primary force behind the worthiness of making a film, and that's a very sad thing. It's film only as a function of consumerism rather than as an important component of our culture, and that's everywhere around the world.

What is important is the story. Because when we are all dust and teeth and kicked-up bits of skin - when we're dancing with our own skeletons - our words might be all that's left of us.

History is a novel for which the people is the author.

All photographers have to do, is find and catch the story-telling moment.

When 'The Washington Post' ran the first national story about FBI profiling in 1984, no one outside of law enforcement recognized the term.

'Constitutional' is an unashamedly educational podcast from the 'Washington Post.' Sub-titled 'a podcast about the story of America,' it's presented by Lillian Cunningham, who engages scholars to explain the fascinating story of how a nation is designed from scratch.

I've never written poetry. I'm not a poet, but I think the nearest you get is either the short story or the novella, in that you can't waste a word. There is no hiding place: everything's got to be seen to relate, and the prose counts.

When reality television really hit, I just had a backlash towards reality. It seemed like a cheap way to make a product. And then when music reality and 'Idol hit,' I just didn't watch it, it seemed novelty. And of course the story of 'Idol,' this is one of the greatest stories in television history.

We've defined decency down now that we look at the entertainment value of it, whether the acting is good, the writing is good, the story is good, no matter the depravity, we'll watch it.

I auditioned for 'Loving' two years before we started shooting, so in the hopes that I would be playing Mildred, I watched it again. Also it's one of the best documentaries I've seen. I found this couple interminably fascinating; even if I didn't get the part, I just wanted to know more about them and their story.

I just grew up watching a lot of movies. I'm attracted to this genre and that genre, this type of story, and that type of story. As I watch movies I make some version of it in my head that isn't quite what I'm seeing - taking the things I like and mixing them with stuff I've never seen before.

A really irritating thing when you're watching a film is if somebody's accent isn't bang-on - it distracts you from getting into the story because you're thinking: 'Where are they from?'

In a time when supernatural dramas are taking charge, Dil Toh Happy Hai Ji' is a slice-of-life story. I have grown up watching such shows and I am sure the audience will love it too.

I really like the story of Bardock, Goku's father. It's quite dramatic and the kind of story I absolutely wouldn't draw if it were me. It was like watching a different kind of 'Dragon Ball' in a good way, so I thought it was nice.

I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story.

I always loved watching films. I've always been active, pretending I was a Power Ranger or a Ninja Turtle. I remember watching 'Toy Story.' I think that was one of my first movies.

I know how fiction matters to me, because if I want to express myself, I have to make up a story. Some people call it imagination. To me, it's not imagination. It's just a way of watching.

I've often been accused of, 'Oh the movies looked good but there's no story,' but I disagree with that in theory, and '9' is a perfect example for me because the feel, the texture, and the look of that world, and those characters, is the story. That's a major component of why you feel the way you do when you're watching it.

I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.

When we did the pilot, I sort of pictured this guy pirating a signal and then this story unfolding of him building this satellite and these robots and watching these bad movies.

Jesus walking on water is an allegory, not fluid mechanics. God destroying the cities of Sodom and Gomorrah is a warning, not a historical battle. Doubting Thomas is an example, not a person. The story of Noah, with all of its scientific and historical impossibilities, can be read the same way.

The story as told in The Odyssey doesn't hold water. There are too many inconsistencies.

I know that from the days of Watergate... the notion of two sources on a story has become the popular dogma about how you confirm something. And there is a lot of truth to that, but there are all kinds of ways to check to the extent that you can, a story that you get.

The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.