I was scared when I went to Conde Nast. I had heard horror stories about how they used you up and then spit you out and went on. But there was this great history of photography that had been done there.
People's mouse clicks decide what businesses, services, and content succeed. Users have equal access to tiny businesses with viral ideas and blue-chip companies, allowing these enterprises to compete on their own merits. It's how so many small start-ups have been able to become Internet success stories.
We don't do this kind of work for awards or to be recognised. We do this to share stories with the world.
Being under the microscope meant I was never given any slack. I still managed to screw up plenty in life, mind you, but in the things I really cared about - the legal work, or the stories I was telling as a writer, or the office I built in government - I wasn't left a lot of margin for error. It's kept me driven.
'The Chicken Soup for the Soul' books are the result of over 20 years of teaching seminars and giving speeches. The first book contains all of the stories that I used in my seminars to illustrate the points that I wanted to make.
Generally, Hollywood makes the same stories over and over. I've never wanted to do the same thing twice. If a script doesn't surprise me in some way, I simply can't commit to the project.
Eastern Muslim countries, such as Indonesia and Malaysia, are relative success stories, as they are not afflicted by the Arab heritage of retreat and humiliation at the hands of the French, Spanish, British, Turks, and Persians.
I am so bored with seeing stories about a mature man of 65 falling in love with a beautiful girl of 32.
I can't write a joke. I could never write. I do a lot of stories and I call them stories, but they're just comedy recitals on a given subject.
I liked to explore different arts. But when I started acting, I knew this was the medium I want to be in for the rest of my life. Stories onscreen affect me the most.
I want more movies like 'Straight Outta Compton.' Showing our stories of triumph, we'll make it through, and we'll get to something better.
My daughter loves stories about my childhood, and we both love discussing women's issues. She's a wise and mature ten-year-old.
I think it's also safe to say genre TV and movies were a big influence - the first stories I ever tried to write were Godzilla fan fiction when I was in elementary school, complete with elaborate maps of Monster Island made with multiple sheets of typing paper and nearly six feet wide. I kind of wish I still had those.
What I learned is that there are indeed some stories that are too true to tell, too revealing for the general population to metabolize. And too challenging to your reporter colleagues, whose turf or toes you might have tread upon.
I feel more relaxed after the Oscar. I feel like I have a chance to just tell the stories I want to tell, and it's actually been really nice.
What's fascinating to me is the way that multiple stories go into creating any world - a fictional world, but certainly the world that we live in as well. Of course, I cannot control that world. I can just control the fictional world.
Censors can make a case for zero tolerance in language. They can make the argument that since we don't allow our children to use that language in schools, we also shouldn't give them stories in which it is used.
As kids, we did see the Disney movies and the kids' adventure stories of the day.
When I do my best work, the stories tend to be pretty emotionally-charged.
I asked Ring Lardner the other day how he writes his short stories, and he said he wrote a few widely separated words or phrases on a piece of paper and then went back and filled in the spaces.
Neal Stephenson handles exposition better than anybody else. I keep trying to learn his tricks, but every time I duck into his pages, I get lost in the stories all over again and forget that I'm a writer.
You're always trying to do something that, on one hand, honors all those stories, that is still in some way the same character that Stan Lee and Jack Kirby were doing back in the sixties. But, at the same time, you want to be able to tell new stories and not just rehash what's come before.
I remember that - you know, I didn't receive a formal education. I was educated in the Montevideo cafe, in the cafes of Montevideo. There, I received my first lessons in the art of telling stories, storytelling.
Fairytales are stories that span every generation and they've been around for a long time.
Hollywood in the 1930s is an incredible period of history. There are so many amazing stories about the stars and the studios at that time that you can't fit into one film.
For me, writing stories is one way of feeling connected to the universe and God.
I started off as a journalist when I was young and I did not get paid unless I wrote three stories a day.
I think about my audience when I write, to some extent. Thinking of writing for young adults, I try to keep the stories moving, never a dull moment, to hold their interest.
Leadership is about encouraging women to break their silence and tell their stories to the world.
It was what became something of a pattern in the first couple of years of the Clinton White House and maybe even longer, where information would drip, drip, drip, drip, drip out which would keep stories alive, alive, alive.
There are autobiographical elements to the albums, and when I write, I always reference my own life as well as other things, so I'm just like any novelist or any fiction writer who tells stories.
For me, directing a film is like confining myself. I want to do something beyond direction. I can conceive stories, write screenplays, etc. That's better for me.
I don't read a lot of magazines, but when I'm traveling, I'll pick up a copy of 'Vanity Fair' to read on the plane - it's like a full meal! The articles are so good, especially the crime stories. Browsing the Web is more like snacking - but I live on snacks.
I think people of my generation became journalists - you know, right after the broadcast pioneer fathers - because we wanted to report the big stories.
The 'Fortune' I came to work for on Jan. 25, 1954, was a monthly, with pages significantly larger than what you're reading; 'art' covers that did not relate to stories inside; and a newsstand price of $1.25.
All too often, white documentary filmmakers are the ones telling the stories of people of color.
