I've just had the opportunity to see the finished film of 'The Hunger Games.' I'm really happy with how it turned out. I feel like the book and the film are individual yet complementary pieces that enhance one another.
I'm ashamed to admit this, but I didn't read a novel all the way through until after high school. Blasphemy, I know. I'm an author now. Books and words are my world.
I was read to as a small child, I read on my own as soon as I could, and I recall being more or less overwhelmed again and again - if not by what the books actually said, by what they suggested, what they helped me to imagine.
Nowadays, I only review books I really like. It's cowardly, I know, but I figure it's not my job to make people unhappy. I'll leave that to the professionals.
I hate most people. And I don’t want to, it’s an awful way to be. But the human race gives me no comfort. I find myself turning to books and films for comfort still. It’s repulsive, because one’s life consists of people, not things.
There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.'
I never understood the concept of a fluffy summer read. For me, summer reading means beaches, long train rides and layovers in foreign airports. All of which call for escaping into really long books.
Then years back, when I moved to California, I happened to see a book about fashions of 19th-century Victorian England, only four pages of which was devoted to the dress of the working class.
The world is lousy with Arab princes. And if we could have got Osama bin Laden, and saved at some point down the road 3,000 American lives, a few less Arab princes would have been OK in my book.
What occurs to people when they read Kurt [Vonnegut] is that things are much more up for grabs than they thought they were. The world is a slightly different place just because they read a damn book. Imagine that.
Asking anyone what she or he is reading is a necessary part of conversation, exchanging news. So I take recommendations from friends - and I always pass along a book I've loved.
When you've written 10 books and have six on the New York Times best-seller list - and four have been No. 1 - I think you have a right to be a member of Congress.
I've been reading Tanith Lee since I was a teenager, beginning with 'The Birthgrave' and 'The Storm Lord.' Only recently did I discover, to my delight, how many more of her books I've yet to read.
The choices politicians make must be based on values - not an arbitrary, axe-wielding approach to public spending or a dismal exchange between Gordon Brown and David Cameron about percentages that sounds like an argument between different book-keeper...
I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book.
I always wrote little things when I was younger. My first opus was a book of poems put down in a spiral notebook at five or six, handsomely accompanied by crayon illustrations.
This was the book I read over and over. I really felt so in tune with them- I knew all the dates of their lives, what they had been doing, whre they had been. They were always my heroes, creating something fantastic against all odds, and against thei...
I was eighteen when I wrote my first book, and I can't remember what it was called. I have no idea where the manuscript is - I lost it when I was twenty-one.
I called my book 'When I Stop Talking, You'll Know I'm Dead' because that's the truth. I will keep talking until the big hand comes down from Heaven. But I am a spiritual man and I believe that even that does not have to be the end.
Other people, including me, have written books with main characters who were old and rich. Or old and brilliant. Old sages, old wizards, old rich people.
We really set out in all our books to say something. Every one is an effort to bring the reader over and show them our theory as to why what we're talking about needs to be talked about.
