I've been a storyteller all my life. When I was in high school, I used to amuse myself by driving through the woods at night and see how long it would be before I scared the pants off my friends - and if I could do it before I scared myself.
Time is a wonderful storyteller.
Stacy Schiff is that rare combination: a first-rate historian and a brilliant storyteller. Using a wide range of sources, she spins straw into gold, conjuring the world of Ptolemaic Egypt in full vibrant color, and returning the voice of one of the most powerful, fascinating, and maligned women in history. Cleopatra is impossible to put down.
The moment in the account of Adam and Eve in the book of Genesis is when they realize they're naked and try and cover themselves with fig leaves. That seemed to me a perfect allegory of what happened in the 20th century with regard to literary modernism. Literary modernism grew out of a sense that, “Oh my god! I'm telling a story! Oh, that can't be the case, because I'm a clever person. I'm a literary person! What am I going to do to distinguish myself?...a lot of modernism does seem to come out of a fear of being thought an ordinary storyteller.
Without Leskov there would be no Bulgakov, no Chekhov, but also no Garca Mrquez and Julio Cortzar. . . . Leskov is the essential storyteller: he does not portray life, he creates it in all its wonder and terror and magic.
Being true to yourself involves showing and sharing emotion. The spirit that motivates most great storytellers is 'I want you to feel what I feel,' and the effective narrative is designed to make this happen. That's how the information is bound to the experience and rendered unforgettable.
If everything that is happening in the world is traceable to our inability to understand what is happening in the world. If there is such a thing as original sin, it's the human capacity to get everything wrong, right from the beginning and all the way up to now, and that's what the old storytellers have been telling us, including the Creek Indians who told this story along with every other tribe on earth.
As a storyteller I was influenced by the Moscow underground, where it was common to be apolitical.
A common question asked of writers is "When did you decide to become a writer?" The answer, of course, is that we didn't decide anything. It was decided for us. I firmly believe that mythical godmothers make appearances at our cradles, and bestow their gifts. The godmother who might have blessed me with a singing voice did not show up; the goddess of dance was nowhere in sight; the chef-to-the-angels was otherwise engaged. Only one made the journey to my cradle, and she whispered, "You will be a storyteller."
I think of myself as a storyteller, and that is it.
What serialized cable dramas have given us is the opportunity to not simply tell the same story with slightly different words and different costumes, every week. people are really mining the ability of storytellers to tell a long form story that goes from A to Z, and to trust that an audience will follow that. If they miss it, over the course of the week, they can watch it online or buy the DVD. There are so many different ways of interacting with it. Storytelling in television is getting more complex and more nuanced.
I definitely managed to do different kinds of things. My focus is usually who the director is, because at the end of the day the director is the storyteller, what the movie is all about. I don't want to participate in something that I don't think is constructive storytelling.
Also, in my acting, I feel very much like a storyteller, exploring the flaws of the characters that I interpret. I look for the imperfections, and I love a character that is just so flawed.
I am very fond of Edith Wharton. She's quite high brow but also a great storyteller. My favorite is 'The House of Mirth.' I also like 'The Reef.
I've always wanted to be a songwriter and a storyteller and somebody who conveys a feeling to the listener or the viewer.
Sam Walton was a master storyteller who used illustrative stories to reinforce his cultural standards.
As a storyteller, when you're writing a movie and when you're directing, you want to keep people entertained. That's the whole point, right? It has to be entertaining.
My interpretation of a strong director is someone who knows their story. That's what directors are, they're storytellers because they're directing where your focus is going to be as an audience.
My whole family are hams. They're storytellers and everyone outdoes the next one.
I'm a music storyteller and collaborator. I hear character, location, and story as music. For me a score is there to both heighten the story and to actually tell the story with the unique emotional and narrative powers of music.
I've always wanted to be a writer. I've been writing since I was probably four years old - it was nonsense, but it was still my little attempts at being a storyteller.
That's what we do, man, we're like storytellers. We tell you stories from the streets. Whether we did it before when we was young or we heard it from one of the homies telling us a tale of what he been through. It's all in having fun and creating a movie like vibe to tell a tale from the streets.
I enjoy storytelling. I like to write it, I like to direct it, I like to act in it, I like to produce it. I like to be around storytellers. That's what excites me.
The film itself involves a New York City radio storyteller, Gabriel Noone, who strikes up a friendship with one of his fans, an abused 14-year-old teenager who is suffering from AIDS, who does not have much longer to live.
Storytellers don't show, they tell. I'm sticking with that.
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