Quotes of All Topics . Occasions . Authors
What the Greeks and Romans considered myths, we consider fairy tales. We can see how very clearly the myths, which emanated from all cultures, had a huge influence on the development of the modern fairy tale.
If you are watching a fairy tale, that's why you go to fairy tales: you want these uncomplicated stories and uncomplicated characters. But if it's meant to be real life, you want there to be some reflection of your experience and have something you can hook into.
The 'punch' of a truly weird tale is simply some violation or transcending of fixed cosmic law - an imaginative escape from palling reality - hence, phenomena rather than persons are the logical 'heroes.'
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.
We often know only one version of the story... the version portrayed by the person who wins a war and lives to tell the tale, and the one who loses a war is always remembered as the 'Antagonist' making the victor the 'Protagonist.'
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.
The story of Bennet Omalu is a riveting story; it's just a riveting tale. I knew from the beginning if I stayed close to that kind of storytelling and focussed on the character, then the other stuff comes along with it, and the message becomes baked into the journey.
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.
I was not really aware of the dystopian genre before I read 'The Handmaid's Tale.' Many poets as well, like John Donne and Emily Dickinson, would be the influences; I specialized in Emily Dickinson at university. Both of those poets have really interesting ways of looking at life and death.
None of the atrocities in 'The Handmaid's Tale' are pure fiction. Everything Margaret wrote was something that has happened somewhere in the world to human beings.
I read it in college as an assignment. I didn't think about it at the time. But when I heard there was a 'The Handmaid's Tale' pilot, I freaked out.
I'd been to an Orthodox Jewish primary school where, every morning, the boys said, 'Thank you God for not making me a woman.' If you put that together with 'The Handmaid's Tale' in your head, something will eventually go fizz! Boom!
You could tell 'The Handmaid's Tale' from a male point of view. People have mistakenly felt that the women are oppressed, but power tends to organise itself in a pyramid. I could pick a male narrator from somewhere in that pyramid. It would interesting.
I took lots of photographs and had planned to write a treatise on how it worked, but I quickly got bored with that idea and wrote a scientific fairy tale instead.
What I've found about 'Cinderella' is that what it provokes in an audience is really extraordinary. It appears to be a deceptively simple tale, but I've heard nothing but people drawing all different things out of it.
I like that 'once upon a time' quality, where the telling of a tale has an elevated sense of story. There's a whimsical quality to it. Sometimes in fairy tales more things seem possible, even though often they're real world based.
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.
I've tried to show in my most recent book, the 'Irresistible Fairytale', that in order to talk about any genre, particularly what we call simple genre - a myth, a legend, an anecdote, a tall tale, and so on - we really have to understand something about the origin of stories all together.
'The Handmaid's Tale' breaks my heart. It's a show based on the book written in the '80s by Margaret Atwood - who is a spectacular talent. That book is a work of art.
There was a movie that was made about 'The Handmaid's Tale.' And I never watched it on purpose because I didn't want to... I just didn't want to know.
When I first read the scenes I got to audition, I just could tell there was obviously something there. The writing speaks for itself, but also it's just the fact that 'The Handmaid's Tale' is such an amazing story. I had never read the book before I auditioned.
'Meadowland' was the reason I got 'The Handmaid's Tale,' and probably my experience in cinematography helped. Everything was like a stepping stone to the next thing.
I'm trying to make people understand: yes, women are oppressed in 'The Handmaid's Tale.' But the men are also oppressed, too. It's just a very scary world for anyone.
What's the hardest thing about making a show like 'Vinyl' or 'Handmaid's Tale' is they are expecting movie-level cinematic quality in every way - from the performances to the visuals and the shots - especially on a show where you are doing Scorsese style.