You know that was much more of a kind of cameo, I love the movie, I love the story, I love Johnny as a fun little role but it was more of a cameo, not anywhere near as developed as this role.
I feel even old people can do a nice love story, but here we don't make that kind of films. In the West, such films are being made and they make a nice romance, which is more like compassion.
'The Museum of Innocence' is not about politics; it's a love story, but I think it's political in the sense that it wants to capture how a man suppresses a woman.
I've never read 'Pride and Prejudice and Zombies,' although I certainly know what that is. And what I love about that concept is as much as it's a zombie story, it's also 'Pride and Prejudice.'
It is a political thriller. It's very action packed and it's very exciting, but at the same time it's a very big soulful love story about longing and loss. They're not separate, they're completely dependent on one another.
I think of my books now as suspense novels, usually with a love story incorporated. They're absolutely a lot harder to write than romances. They take more plotting and real character development.
'Harold and Maude' was a seminal movie for me because it's not only a beautiful love story, but it's also about the moment when misfits find each other.
I think it's very important for people to not judge the people you're playing. You have to find a way to love them because their story is theirs. I just don't think there would be any use in that.
It's horrid to be called a Shakespearean actor because that's incredibly limiting, and we love acting. We like telling stories; anything that excites us we want to be a part of. Science fiction is fun, too!
I've always wanted to play Maria in West Side Story. My idol is Natalie Wood, and I love the movie, so I think a modern-day twist on it would be really neat.
But if you really love to write and you really love to tell stories and you really love to draw, you just have to keep doing it no matter what anybody says.
When the news wants to tell you something is important, they put dramatic theme music behind it. They scare you into watching the story.
I can travel with music. I close my eyes, and I can travel all over the world with music. And one after another, stories come to me, and I just record them.
Basically, radio hasn't changed over the years. Despite all the technical improvements, it still boils down to a man or a woman and a microphone, playing music, sharing stories, talking about issues - communicating with an audience.
I always tell people I write songs, but I'm a writer. It's a difference. I can write songs to music, but I can write a story. I can see ideas spark in me.
I've always been drawn to stories and telling them; whether it was through being a part of theater when I was a little kid, or film, or with music, there's just been an innate desire to feel that connection.
I was too restless as a boy to sit through an entire mass. It was akin to aversion training. I looked at it like a puppet show with a totally predictable story line. The only aspect I really liked was the music.
It is only in his music, which Americans are able to admire because a protective sentimentality limits their understanding of it, that the Negro in America has been able to tell his story.
One of the things that helps me tell a story through music is to create a character. I have to have a muse, whether it's Frida Kahlo, Martha Graham, Marlene Dietrich, or Pippi Longstocking.
When I was very little my mother would read to me in bed. She gave me a fascination for stories, and for the music in words.
I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.
