New Story Quotes

Every time I get a script in my inbox, it's like a little Christmas present. It's so exciting to see what they've cooked up.

When I'm doing a part, I'm not coming with any baggage of who did what. I looked at 'Force 2' as a fresh film. It's a new story and a new director.

I was too lazy to start a whole new story, so I just stuck a princess into the story I was working on... and The Princess Diaries was born!

When Josh and I are recording a record, we're very mindful of how the music will manifest itself live. That's where we have to live every day. When we tour for the next record, I imagine there will be a new story to tell, and we'll introduce new characters.

Step out of the history that is holding you back. Step into the new story you are willing to create.

I love taking prints, embroidery, appliques - precious things that seem to be from another time - and using them to create a contemporary, new story.

I would say a good leader brings results. A great leader writes a new story, it's different. Obviously a new story has to incorporate a lot of results. But a story is a chapter in the life of a company that people want to write and want to remember.

A story can be new and yet tell about olden times. The past comes into existence with the story.

The story was such that I couldn't make a graceful ending and then make a graceful new beginning. I could have, but I didn't want to. So, it isn't the most graceful way of writing a story. This new story is, I think, is pretty good stuff. I'm pleased with it anyway.

Every fight is a new story, a new training camp.

In 'ABCD1,' it was only me. The character I play has his own charisma. But In 'ABCD2,' the film has gotten bigger with stars like Shraddha Kapoor and Varun Dhawan teaming up with me. The story is also completely different, so viewers can expect something totally new.

I've never done a movie in that genre, and I love a lot of those movies. I watched the director's [David Freyne] short film [The First Wave], which I loved. And the script was just so good. He's found this way to tell a new story.

I used to tell my three younger siblings stories because that was my household chore, and I told long stories in installments because it was easier and more fun than making up a new story every night. I loved it.

I would love, love, love to do a comedy like 'Gentleman's Guide,' something farcical and fast-paced, but I also want to do something that hasn't been written yet: the story of Sidney Poitier. A lot of people tell me that I look like him.

You know what? I wanna play something that is really... it changes the game. I don't wanna be the same story where it's the Charles Bronson formula, where he's getting revenge or whatever.

Writing the first draft of a new story is incredibly difficult for me. I will happily do revisions, because once I can see the words on the page, I can go about ripping them up and moving scenes around. A blank page, though? Terrifying. I'm always angsty when I'm working my way through a first draft.

I think the success of 'Downton' is partly because there are effectively 18 leading characters, all given equal importance, so it's enormously involving on many levels. But also, it's a new story. It's not like Dickens or Austen, where everyone knows the denouement.

I think I remember from the offset I said, 'I've visited this territory. This isn't for me.' And then I read the script and I said, 'You know, this is completely something different. This is a whole new life.'

In medicine, there's a fairly large but still finite body of knowledge that you need at hand for most of your daily work. It takes a few years to learn it, but once it's there, it's there. With writing, on the other hand, every new book - indeed, every new story - is a fresh and terrifying reinvention of everything.

The one thing that I always try and take with me, if there's, like, a remake, or you're doing something again, is that every generation has a new story to tell.

One thing we never did with 'Bad Company' was talk down to our reader. And we certainly don't do that with the new story, 'Bad Company, First Casualties.'

What I feel responsible for is, if my name is on a comic, I want it to be the best-written comic that I can possibly do. I want it to include some new things we haven't seen before, new story ideas, new characters. Quality, quality art, all those kinds of things.

If you want to tell a new story, it is a risk. But then you have to do it in the best financial way as possible.

To recover the fatherhood idea, we must fashion a new cultural story of fatherhood. The moral of today's story is that fatherhoodis superfluous. The moral of the new story must be that fatherhood is essential.