Quotes About Story

I feel one shouldn't turn director unless one is compelled to tell a story.

There's an arc to an action sequence, and you need to come out the other end knowing your character better, and maybe the story has moved forward in a compelling way.

What should be driving the conversation is: What's the story? What's the movie about? Is it a compelling story? And if it is, then you make it regardless of the color of the people behind or in front of the camera.

Xbox is playing a different game. I think the Game Pass stuff is a really compelling story for them.

It's a real challenge to complete a story arc and end up with a cool punchline in 120 characters.

When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.

Trump is a really complicated story and a difficult candidate to write about.

When I compose for any film, I always work with the story in mind.

I compromised my ability to tell my story, at the most basic level.

Ruthless concern with story is what I learned in television.

I don't start with the characters. I start with the series of events that will provide the conflict and how it can be resolved. Characters are incidental.

When you write something you know, you're making a story that will work, whether or not there's bits taken. It's always funny to me when people say, 'Well, it's clearly autobiographical,' and I say, 'Well, how do you know my autobiography?' Certainly, there are things that are connected, but I just think it's a very interesting assumption.

With 'Breathe', the whole team feels lucky and blessed that our hard work has created a story which people are connecting with.

It just didn't seem to fit the story and lineage, I guess. So I just sort of surrounded 'Blood Bank' with three other songs that were very different from one other, and they all kind of came together as a palette cleanser for the last record. And I'm really excited about it.

Every story I do is about people. It's my survival instinct - one person, one story.

In a weird way, that's the beauty of being an actor. You get to live out things that you're afraid of, and you get to say, 'Well, maybe I can get to the end of it and survive it intact and I can be the hero of my own story.' It's kind of a way of exorcising fear.

Scars can be a good story. I survived and I am proud of them. I didn't want it, obviously. The girls definitely like them.

All the great legends are Templates for human behavior. I would define a myth as a story that has survived.

My 'Pearl Harbor' story is that I've never seen it, and I suspect that I was cut completely from the movie, but my name is fairly high in the credits at the end. So, anybody that's ever said that they saw me in Pearl Harbor, I think they just saw the list of credits at the end of the movie.

One of the hardest things to believe is that anyone will abandon the effort to escape a charge of murder. It is extremely important to suspend disbelief on that. If you don't, the story is spoiled.

What I like about the Carpenter take on 'The Thing' is the fact that it just has so much suspense. It seemed like a different story, with the horror elements.

So long as you tell a story that falls within the fairly generous boundaries of the suspense novel, you're free to make the novel as good as you can. You're allowed to challenge the reader. You can experiment with voice and style.

Ideally, I like to integrate the human issues into the suspense story itself.

One of the things I learned as a young semiotics nerd was that if you have plot moving forward, no matter how banal the facts of it, simply the fact that the plot is rolling forward makes you wonder what's going to happen next, which creates suspense. So you can control peoples' attention simply by having things move forward in a story.