Quotes About Story

I'm an actor, so I think without a character to play, a story to tell, a song to sing... there's some suspicion that there's no 'there' there. Like, if I were to just strip down and present myself, I think I'd sort of just... disappear.

There is that stereotype of a nerd with the high pants and pocket protector and that kind of thing. That can sustain comedy for maybe a movie - hence the 'Revenge of the Nerds' franchise - but not for hopefully years on the air. It's a sight gag, not a story.

I think cheese smells funny, but I feel bananas 'are' funny. I'm assuming Swamp told the whole story of the executives seriously asking us to replace the banana with cheese because they thought it was funnier.

People get excited about things like 'Swan Lake' because they generate a personal involvement. If you set up the story properly, audiences respond to the ambiguity. People ask, 'What exactly is happening in Act Four?' and I never say. I can't put it into words, but they've got a feeling about it, and that's good enough.

The same myths are told in every culture, and they might swap out details, but it's still the same story. It's the same story, but with a different face.

In fact, I spent 25 years as a reporter, swearing I would never become an editor. Sitting at a desk, watching other people go out and find the story, and then fussing with other people's words - I just didn't get the appeal of that.

For me as a writer, the story has always taken precedence over everything else. I have never sat down to write with broad, sweeping ideas in mind, and certainly never with a specific agenda.

I'm actually a very romantic person, and I would like to play in a love story. As long as it doesn't get too sweet. That's not me.

I've been so swept up in the 'Loki' story.

I can't control life for my grandchildren, so how could I control a story? Sometimes I try to force something, and after working and working on that chapter, I realise that I am swimming against the current. I will never get there. So I have to let go of whatever previous idea I had about it and let the characters decide.

I flipped through a book on harp seals in the late 1970s and saw images of them swimming in emerald green pools of water surrounded by huge sheets of ice. Right then I was hooked, and I knew this was a story I wanted to do.

The reporter is the daily prisoner of clocked facts. On all working days, he is expected to do his best in one swift swipe at each story.

My first job was a commercial for a Swiss insurance company. It was an eight-minute short with a proper story arc, and it ended up getting a spot at Cannes Lions; I was lucky to avoid the commercials where you're their puppet.

A novel ensures that we can look before and after, take action at whatever pace we choose, read again and again, skip and go back. The story in a book is humble and serviceable, available, friendly, is not switched on and off but taken up and put down, lasts a lifetime.

I am much more aware of making the plot more original, avoiding contrivance, having the story matter much more. I used to think more about symbols consciously. Now I think much more about the story.

AI don't make a big thing out of my race. If you try to preach, people give you a little sympathy and then they want to get out of the way. So you don't preach; you tell the story.

It's important to find characters that share sympathy with a young audience, not just in the story but their role in the world.

I am here, a citizen of this country, and I'm saying, 'Hey, the system failed me. I am a good citizen. I contribute to this country, and here I am sharing my story. What are you going to do now?'

Emperor Claudius, the story goes, once convoked the Senate to vote on whether corned beef and cabbage was the best of all possible dinner dishes.

I still think about the letter you asked me to write. It nags at me, even though you're gone and there's no one to give it to anymore. Sometimes I work on it in my head, trying to map out the story you asked me to tell, about everything that happened this past fall and winter. It's all still there, like a movie I can watch when I want to. Which is never.

Sometimes the truth is dramatic.

He is no longer the pretext for a story: the story itself renders him homage. The works of Fantomas can neither be destroyed nor accept modifications. ...Fantomas requires more of others than of himself ... He is never completely invisible. His likeness can be seen through his face. ... Fantomas's science is more precious than the word. It is not possible to guess it - and no one can doubt its power.

I mean, the first 'Back to the Future' is kind of a perfect script, I think, in terms of handling time travel the best. It depends on your definition. To me, that means it effectively uses it in the story.

If we learn from the Gospel of Luke how to read the OT, we will see that the whole story of Israel builds to a narrative climax in the story of Jesus. In