Quotes of All Topics . Occasions . Authors
The pro athlete is a sad tale. He signs a big contract and thinks he's set for life. I didn't think I was set for life, and I don't now. As athletes, we are important, celebrities, in demand and rich. Then we are out of the game and we are not important, not celebrities, not in demand and not rich.
Mary Trump's 'Too Much and Never Enough: How My Family Created the World's Most Dangerous Man' tells a remarkable story, the broad strokes of which many already knew. Mary Trump offers a tale of what she calls 'malignant' family dysfunction, and how it produced a malignantly dysfunctional president.
I've always said that Miguel Pinero's story is a quintessential American tale. An immigrant who comes to this country, is immediately marginalized to the lowest economic level and persecuted because of his skin color and, in spite of all the obstacles put in his way, he becomes a huge popular success.
Writing the past is never a neutral act. Writing always asks the past to justify itself, to give its reasons... provided we can live with the reasons. What we want is a narrative, not a log; a tale, not a trial. This is why most people write memoirs using the conventions not of history, but of fiction.
I say 'spectacle' rather than 'story' because in the end, it isn't the intricacies of narrative that draw us to horror films. When it's there, I'm grateful for the director's skill at telling an exquisitely nuanced tale filled with psychological insight, but it is the spectacles that I take home with me.
My grandmother, Amalia Pia Emilia Vignola, whom I called Nonna, brought out the fairy tale in everything. She used to tuck me into bed so vigorously that I never felt anything less than comforted, and then afterwards, she would sit on a cane basket box next to my bed and read Hans Christian Andersen to me.
Any consideration of the story we call 'Cinderella' for simplicity's sake must acknowledge that 'Cinderella' has had a dizzying array of personae over hundreds of years, in several cultures. There is no one authoritative tale of 'Cinderella,' only a hall of mirrors with a different face in each reflection.
It's a funny thing that's happening online. The Middle Easterners want 'Aladdin' to be a Middle Eastern story, and the Indians want 'Aladdin' to be an Indian story. The truth is, it's really a folk tale from the 1800s, and Agrabah is a fictional place that's a culmination of India and Asia and the Middle East.
Nabokov can be almost too delicate at times, but in 'Lolita,' he puts his aristocratic sensitivity to use in such a dark tale that it creates this great tension between the story being told and the style that it's written in. And it's just amazing that one of the best novels in English was written by a Russian.
Hollywood always represents this big dream and fairy tale in people's minds, but to me, it's just hard work. Of course, we play fairy tale on the red carpet. It's all Cinderella. But when the clock strikes midnight, I turn into a gray mouse and I go home, and I take my dress off and it's over. That's Hollywood.
I figured if I write a modern thriller but spliced in the DNA of a classic western - the drifter who comes into town with secrets - I could do something interesting with both genres. Westerns are also an incarnation of the classic knight errant tale, the lone warrior with a moral code, and I love those types of stories.
I remember him reading 'Sleeping Beauty,' and he would play the score by Tchaikovsky as he read it. We'd also read 'Winnie the Pooh,' and, you know, those probably that he most often read me were 'Beatrix Potter' books, 'The Tale of Jemima Puddle-Duck' and 'The Tale of Mrs. Tiggy-Winkle.' I still have at least 15 of them.
With fiction, I've grown to really love the challenge of lying, the challenge of telling a good tale that isn't truthful, and working with performers is endlessly fascinating. You know, learning what a good performance is, how to get a good performance, how much or how little you need to create emotion or to create character.
Sometimes I feel that in religious content, religious drama, it's almost told like a tale, like an account of facts, and in 'A.D. The Bible Continues,' it's drama, it's real drama that we like to see on TV today, seeing the characters struggle and doubt and be completely in conflict with each other, kind of like 'House of Cards.'
I do a lot of urban fantasy, which is modern-day cities, but you've got magic, you've got fairies running around, or cryptozoological creatures running around, and I'm pulling very heavily on my background as a folklore major and having done some animation work and all of that, and I'm pulling from the modern fairy tale narrative.
You can read Windrush as a morality tale, but it is about the future of black people in the Caribbean. Where next will they want us to labour? Where is the next place they will take us? Why do we not focus on building our own economies and societies? We need to put all hands on deck to get our economies to function at a higher level.
I was a little hesitant at first because there's so many ways you can get 'Straight Outta Compton' wrong. You know, it's such a great story; it's such a classic tale. I was a little nervous 'cause it's like a very narrow road to success with that type of story - you got to get it right - but when I read it, I was pleasantly surprised.
I suppose the book I really remember loving as a child was one called 'The Outsiders' by S.E. Hinton, about a gang of kids from the wrong side of the tracks in Sixties Oklahoma. I grew up in the Eighties in Nottinghamshire, but this tale of troubled, but essentially good, kids - or 'greasers' - was something I completely connected with.
After my film 'The Tale of Two Sisters,' I received a lot of offers from Hollywood to direct, but because 'A Tale of Two Sisters' was a horror film, I received a lot of horror films. But I wasn't interested in working in the same genre, and the scripts I received for films in different genres were for projects that were near completion.
Sure, I went through my 'J'accuse' phase. I was so angry for so long, I could hardly have a conversation without getting into an argument. And it was only when I felt I could finally distance myself from my past that I began to write about what happened - not just to me, but to lots of young people. I think my story is a cautionary tale.
When I first read Anne Frank's 'Diary of a Young Girl,' I saw for the first time that a girl could be a writer and that it had something to do with survival and with ethics and fighting against evil. I admired her, though her diary remained terrifying and mysterious to me. She was a character in a real fairy tale - fairy tales are brutal.
In 2006, I appeared before a House subcommittee considering real estate reform. It was like visiting the capital for the 'Hunger Games' as an outsider in a glamorous and byzantine fairy tale: I couldn't believe how beautiful all the congressional aides were, and I never understood the system of bells and alarms warning legislators to vote.
'To Kill a Mockingbird' is really two stories. One is a coming-of-age tale told from the point of view of Scout Finch, a girl of about nine, and her slightly older brother, Jem. The second story concerns their father, attorney Atticus Finch, who has been appointed to defend a black man, Tom Robinson, falsely accused of raping a white woman.
'The Marriage of Souls', like 'The Rationalist', is an exploration of humanist philosophy wrapped between the delicate leaves of an eighteenth-century tale. The story of the two novels - and they should be read as a two-volume work - centres around the old war-horse of boy meets girl, boy loses girl, boy finds girl. But what a boy and what a girl.
