Quotes of All Topics . Occasions . Authors
I like being the lead but I like being in an ensemble. There are different challenges and dilemmas with both. If you're carrying a film, there's a certain weight, but there are a lot of scenes to explore the character. When you're in an ensemble, you have to convey the entire character in a limited number of scenes.
I can recognize a good actor. I can recognize someone that can convey emotion and that has the essence and not get lost in the minutia of, 'Well, that person's got red hair, and so does the other.' Some of the decisions in casting that seem so important at the time, until you get on set and you're starting to shoot.
You'd expect, as good Darwinian creatures, we would evolve to be fascinated with how the world really is, and we would use language to convey real-world information, we'd be obsessed with knowing the way things are, and we would entirely reject stories that aren't true. They're useless. But that's not the way we work.
Clothes are particularly hard to value. While cars and high-tech gadgets - Maseratis, Audemars Piguet watches, and first-generation iPhones - offer not only performance but the cachet of a visibly rich item, clothing does less to convey what you spent on it. Clothes get stained and snagged, and they go out of style quickly.
It's a vicious circle. If you feel hideous, you convey it to people. A couple of male friends from university have said, 'I quite fancied you, but I wouldn't have dared...' and I was like, 'Oh really?' I was completely amazed that anyone had ever fancied me, and also that I'd obviously given an impression of 'Don't touch me.'
I've been searching for a genre that would be most adequate to my vision of the world to convey how my ear hears and my eyes see life. I tried this and that, and finally, I chose a genre where human voices speak for themselves. But I don't just record a dry history of events and facts; I'm writing a history of human feelings.
I never really approach any project or story thinking of themes first or what a certain character 'represents.' Maybe other writers do, but for me, it just starts with the characters and a certain emotion I want to convey. It usually isn't until I get deeper into a book and look back a bit that I start to see the themes, etc.
When I go from a role with heavy prosthetic makeup, which I've done quite a bit of as well, and then do a role where I'm not wearing any, I have to be conscious of toning everything down. Because when you're wearing prosthetic makeup, of course, you have to really move your face a lot more to convey things through the makeup.
If the rules of a language are followed, words usually make sense. But these very rules can stir the impulse to rebel. We're obliged to keep trying to convey meaning through correct sentences. After a while, the good-soldier rigidity of polished prose can begin to seem dull, and it gets harder to resist the temptation of nonsense.
I'm not particularly interested in working with movie stars. It depends on where you come from, I suppose. Why are you making films? The reason I want make films is because they convey ideas. I think some directors make films because they want to hang out with movie stars and be part of Hollywood. They want to be a star themselves.
The idea is to make the script out of a political analysis and then to convey that - sometimes in poetry, sometimes science, sometimes all it takes is a film. The film itself is less and less spectacular because I think very strongly now the more spectacular you are, the more you are absorbed by the things you are trying to destroy.
I think the goal with any writing, but especially narrative nonfiction, is to put the blockade of putting your thoughts in this unnatural medium of print and then trying to reach through that and actually convey what's going on, what you think, and make people laugh and recognize themselves while doing it. Definitely the laughing thing.
As I read 'The Infinities', with its magical, playful richness, its sensuous delight in the power of language to convey the strangeness and beauty of being human, I wondered if J. M. Coetzee, with his bleak, pared-down, elemental view of the world, had ever read a Banville and, if he had, whether he had envied him his astonishing powers.
I find a tremendous receptivity among the public for the subject matter of, 'Where did we come from and how did we get here?' People are thirsty and hungry for information on our origins. I feel a responsibility as a major figure in the area... to convey to the public the knowledge of human origins in a way that is understandable to them.
I write simply because I hear voices of people in my head who won't give me peace until I convey their stories to the rest of the world. Seriously. They've always been with me. While other girls played with dolls, and my brothers with Hot Wheels, I was busy traveling through space or traipsing through graveyards with my imaginary playmates.
