Stories Quotes - Page 163

At the centre of every fairy tale lay a truth that gave the story its power

The only story that seems worth writing is a cry, a shot, a scream. A story should break the reader's heart.

If Wes Anderson has a very strong cast, he can direct the minutia of that story and still manage to have something that lives and breathes.

I really believed that anything at all was worth writing about if you cared about it enough, and that the best and only necessary justification for writing any particular story was that I cared about it.

I approach stories as a private educational enterprise: I want to learn about something. I teach myself through research, reporting, and thinking, and then, when I feel like I know the story, I tell it to readers.

Why, I wonder, should the popularity of a news story matter to me? Does it mean it's a good story or just a seductive one?

I read a lot of ghost stories because I was writing a ghost story. I didn't think at all I was writing a horror or a thriller or whatever because it is about a ghost, whereas a horror film can be about aliens or things that rise out of the marsh that have no human shape.

Telling a story of illness, one pulls a thread through a narrow opening flanked on one side by shame and the other by trivia.

People take what they need from the stories they hear. The tale is often wiser than the teller.

I'll write this all down for you," I said. "I'll put it in a story." I don't know if that's what he wanted to ask me, but it's something everybody wants--for someone to see the hurt done to them and set it down like it matters.

Sometimes when there is action, we just tend to avoid those moments with music, and have music in a separate part that allows you to dream and to make your mind up on where you're at in the story.

For some decades now, it seems, there has been a ukase in place in American journalism to the effect that Canada is entitled to one story per season.

I love how you can shoot a movie in a month or two or three of four, and it's this encapsulated story that you box up and ship out into the world, and what it is, is what it is.

Not every movie, in my opinion, should be in 3D. There are a lot of stories I wouldn't shoot in 3D. But, you know, there are movies that are perfect in 3D.

I'm certainly hoping that 3D gets to the point where people do not notice it because once they stop noticing it, it just becomes another tool and an aid to help tell a story.

There's no better way to test a person than to put them in the middle of a war. That's clearly going to show what kind of a character you're telling a story about.

When I don't have a story to tell, I'm a terror to live with.

I don't make unconventional stories; I don't make non-linear stories. I like linear storytelling a lot.

I compose the frame literally with the camera. Unless it makes a story point.

I tend to be drawn more to people than pure story ideas.

The problem with most love stories in my opinion is that they're too simplistic.

I think of myself as a writer with a sense of humour rather than a comedy writer. Happy to tell a story with lots of jokes in it - I wouldn't know how to do jokes without the story.

It's a funny thing about stories. It doesn't feel like you make them up, more like you find them. You type and type and you know you haven't got it yet, because somewhere out there, there's that perfect thing -- the unexpected ending that was always going to happen. That place you've always been heading for, but never expected to go.

The story [of Allied ] itself is the story I wrote, and that's what's great about Bob [Zemeckis ]. You have meetings, but it's meetings for clarity, not to change what they're saying or doing. He takes what's on the page and executes it so brilliantly.

When Brad [Pitt] responded [to Allied], suddenly what was impossible became possible, which was great. But along the way, whenever I told the story, it had an affect on people. At its core, this was an effective story.