You can have a bunch of great actors in a film, but if you don't have anyone telling a great story, it's a moot point.
I've loved comics since I was very young, and I've always liked telling stories.
The greater good is achieved by not only telling people what they need to know, but also filling them with a sense of empathy and love.
Kuhn was the intellectual of whom many scientists said he's 'telling it as is it is' insofar as talking about a process of 'tinkering' in terms of theory and experiment followed by radical changes. But often, what Kuhn had in mind were some very spectacular incidents in the history of the sciences that changed our way of looking at the world.
In writing, I want to be remembered for telling good stories in beautiful and powerful language, using the poetry of words to reflect the thematic concerns of compelling stories.
I get a lot of criticism for telling founders to focus first on making something great, instead of worrying about how to make money. And yet that is exactly what Google did. And Apple, for that matter. You'd think examples like that would be enough to convince people.
A soul-based workplace asks things of me that I didn't even know I had. It's constantly telling me that I belong to something large in the world.
The problem of telling contemporary history is that your message gets outdated.
My interest as an artist is to illuminate the lives of black folks. I definitely am focused on films that illustrate all that we are and all our nuance and all our complicated beauty and mess, and when you're telling those stories, you gotta have black actors.
Historically, Labour has used technology as a form of control. We would use pagers and faxes to send out messages telling people what line to take. The key learning from the Obama campaign is to use technology to empower your supporters.
It's great to try another format and be part of telling a story over ten episodes.
You get guys around a campfire, and they start telling their stories. That's the fellowship that they want to be in.
Joan Rivers telling Lauren Bacall her dress is all wrong is like Carrot Top telling Lenny Bruce he needs to get an edge.
I generally don't climb something if it makes me feel fear. The beauty of soloing is that there's no pressure - no one's telling me to do it. So if something seems scary, I don't have any obligation to do it. I can prepare further or just walk away entirely.
In elementary school, we all say, 'If you don't have anything nice to say, then don't say anything at all.' In high school, we should say, 'If you don't have anything nice to say, shut your mouth.' So that's what I'm telling high schools all around the world.
I like a good mono track, it's right up front. I don't need all the surrounds telling me there are birds in the neighbourhood.
The more I make films, the more I feel less inclined to talk about them and just let people watch them. I feel that the pictures are telling the story, and I can't really add anything except just talking about the technicalities of what happened on the day.
Everybody was telling me I should just stand alone on my first project, and I started to see what they were saying.
For several years before I began 'The Folded World,' I worked at an urban college campus and had a job in a tutoring center, and people would come into the tutoring center, and for some reason, they just kept telling me their life stories.
I've already composed and written a letter to the House administration telling them to withhold my paycheck in the event of a lapse of appropriations.
Women in pro-ams are always telling me about all the business deals they've struck on the golf course playing with their male work colleagues.
If I could throw my phone away, I would probably do it. It's always on silent, and I don't like when it rings and people are calling. We could live without those things in the past when we just had a phone on the street somewhere, on the corner or at the house. I have no interest in telling all the people what I do every day and where I am.
At first, I did have that thought, like, 'Oh crap, what are we going to do after?' Then I realized 'Girl in a Country Song' was an honest, truthful song, and we were telling our truth, and that's all we have to do - write songs that are true and tell our stories.
Pretty much anything you care to imagine can happen in a fantasy, which in turn means you can really crank up the intensity of the tale you're telling.
As a father, I always want my son to be perfect. When he was young, I tried to train him in martial arts, but he said, 'I don't want to become like Bruce Lee's son, with everybody telling me how good my father was.' I just think my son is too lazy.
I'm a fiction writer, and fiction is telling the lives of unreal people. But the only way you can learn to do that well is by really understanding the lives of real people.
If I have to go around telling everyone how great I am, then there's something wrong with my act.
All you need is one person in a group to be honest, and then slowly, very slowly, everyone else starts telling the truth. That's why our lecturers must be former members of Weight Watchers. They must have lost weight our way.
I didn't like the Feds coming to town when I was in Miami, telling me what to do. I didn't like them coming to town and thinking that they knew more about Miami than I do.
My idol is Emile Zola. He was a man of the left, so people expected of him a kind of 'Les Miserables,' in which the underdogs are always noble people. But he went out, and found a lot of ambitious, drunk, slothful and mean people out there. Zola simply could not - and was not interested in - telling a lie.
Acting is really about showing up that day and telling the writers what you feel like saying.
The desire to play has always been in me. I remember my first experience at about four or five of really dying to sing and dying to play that came from no one telling me to do so.
After 'Kong,' my knuckles have never recovered because I had to wear very heavy weights on my forearms and around my hips and ankles to get the sense of size and scale of the movement of the character... You are telling your body that you are these things and that you're feeling these thoughts and that you're experiencing these experiences.
There's a relationship between music and spirituality and inspiration and to a certain extent improvisation that draws me in, because I don't totally understand it. I know that those relationships have been telling me, since I started making records, where to go. What to write down.
One stops being a child when one realizes that telling one's trouble does not make it any better.
I have a problem with telling jokes about physics. Quite often the audience have no idea what you are talking about and, to be honest, I don't know what I'm talking about either.
