I tend to wait for true stories to mature into fiction. Most of my fiction grew out of a long-germinating real-life situation.
Telling a true story about personal experience is not just a matter of being oneself, or even or finding oneself. It is also a matter of choosing oneself.
I have made up thousands of stories; I have filled innumerable notebooks with phrases to be used when I have found the true story, the one story to which all these phrases refer. But I have never yet found the story. And I begin to ask, Are there stories?
I went to an auction in the late '70s and bought a small Renoir. People said, "Why did you buy a Renoir that size?" I said, "I can put it in the safe with my diamonds." And that was a true story. I bought it to put it in the safe.
Now, as when I made films that were too autobiographical, the problem is how to escape naturalism. If you tell a strictly true story, because the way you are telling it is false, it creates naturalism. But I become a naturalist. And to become a naturalist is something I avoid. It is fake life - that is the problem. It is because we are familiar with situationnisme, and the critique of the spectacle, et cetera, which is a very fair criticism. People who have no life, and who watch this fake life on a screen - it's a very alienated situation. And that's what situationnisme is about.
The true story is vicious and multiple and untrue after all. Why do you need it? Don’t ever ask for the true story.
The vampire was real. It was only that his true story had never been told.
I was working within a figurative representational framework, and there was a sense of reading the painting as a transparency, or truth, or autobiography, which I think is partially the burden of artists of color - or women, or anybody who is representing a so-called minority position. Are you actually telling a true story, or your own story? You don't just get to tell a story. The readings of the work didn't necessarily conform to my own understanding of mythology, where violence and eroticism and the body and all of these different forms coexist all the time.
Well, this is a story about books." About books?" About accursed books, about a man who wrote them, about a character who broke out of the pages of anovel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind." You talk like the jacket blurb of a Victorian novel, Daniel." That's probably because I work in a bookshop and I've seen too many. But this is a true story.
If the story-tellers could ha' got decency and good morals from true stories, who'd have troubled to invent parables?
The first thing I think I ever played in public, aside from singing in church, would have been - and this is a true story - when I was about nine or 10 years old, I was obsessed with Twin Peaks. I played the theme from Twin Peaks on a little tiny Casio keyboard. People politely applauded. I just fell in love with that song and thought it was very heartbreaking.
I produced a play in New York that got nominated for an Outer Critics Circle Award for Best American Play.The play is called Stalking The Bogeyman. It was a story on This American Life, and my former roommate is the artistic director of the New York Repertory Theater. He heard the NPR show, contacted them, and essentially - shortest synopsis ever, like I'm the Cablevision guide button - it's the true story of a man stalking and plotting to kill the man who raped him when he was seven. It's by a brilliant reporter named David Holthouse.
With my friends, it was always essentially true stories. That's how I always felt about doing King-Cat. This is something that really happened, whether it makes me look good or bad, or someone else look good or bad. This is what happened, and it's my job in life to write it down. Nowadays, I'm a lot more conscientious about it. I'm not out to attack somebody in print.
The good thing about writing a true story is that you don't have to worry about giving an impression of realism.
My responsibility is to try to tell true stories. To me a true story is always hopeful, but never simply, uncomplicatedly happy.
With fiction, you are creating an imaginary world. And it can be a very mechanical process. In a fictional film, you create the characters who become "real people" when facing the camera. When you stop shooting, they change their costumes and become someone else. And people tend to believe in documentary more than fiction. Even if the fiction is based on a true story, everybody will say, "Oh, they're only actors."
True stories, autobiographical stories, like some novels, begin long ago, before the acts in the account, before the birth of some of the people in the tale.
We affirm that the true story of capitalism is now beginning, because capitalism is not a system of oppression only, but is also a selection of values, a coordination of hierarchies, a more amply developed sense of individual responsibility.
True stories are the ones that lie open at the border, allowing a crossing, a further frontier. The final frontier is just science fiction--don't believe it. Like the universe, there is no end.
If you lose count of how many cookies you ate, the calorie intake ceases to exist. True story.
Infrareds on little people standing with some big heads, I was Captain Kirk, walkin' with a black t-shirt. LAPD, the nurse asked did my knee hurt? I was in pain, little Martians tryin' ta take my brain, Hospitals came, detectives wrote down my name. I was to blame, my life never been the same. A true story; I tell ya, it'll never bore me. My classmate died, my other friend named Cory Drinkin' 40s, he jumped out the project window, Stabbed himself with a yellow number 2 pencil.
True stories deal with hunger, imaginary ones with love.
To see the madness and yet walk a perfect silver line. ... That's what the true story-teller should be: a great guide, a clear mind, who can walk a silver line in hell or madness.
What I love about the Bible is that it's a group of stories but it's all telling one main story. It's about Jesus Christ. The story is not about me. That takes a lot of the pressure off me, but it also puts the responsibility on me to point people to who the true story is about.
I did a film called 'Fort McCoy,' based on a true story of one of the few internment camps during WWII that was actually in the United States.
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