I can work in films as long as the story doesn't have a realistic nature. If I'm working with an allegory, a fantasy, it can be developed in synthetic terms.
It's the story of an American who wants to become a dictator and goes to Europe with a sidekick to interview various Fascists to find out how the Nazis and Mussolini got into power.
I think the power of Stieg Larsson's stories is that he has the guts to show the hidden spots in the side of Sweden. That gave us a push to say that for the first time. That they can't have with the American version.
America's vulnerability comes precisely from its strength, its wealth, its power and its modernity. It's the usual story of the dog chasing its own tail.
Poetry, fiction as novels or short stories - these are autonomous as created by their authors. They should stand on their own, like pieces of furniture that should be judged as to their usefulness, elegance.
The world of religion isn't a logical world; that's why children like it. It's a world of worked-out fantasies, very similar to children's stories or fairy tales.
But other vampire stories? Well, no, I really haven't read too many, and I can't say I'm crazy about romantic vampires anyway - to me the vampire is simply an evil monster.
The whole idea of genre and categorising films is a critic's construct. For me, I just try and make stories and see where they go, but there's nothing wrong with horror; there's nothing wrong with romantic comedies.
I bought a selection of short, romantic fiction novels, studied them, decided that I had found a formula and then wrote a book that I figured was the perfect story. Thank goodness it was rejected.
My stories are about humans and how they react, or fail to react, or react stupidly. I'm pointing the finger at us, not at the zombies. I try to respect and sympathize with the zombies as much as possible.
Babylon 5 is probably the biggest, most ambitious television science fiction series ever made. It's one big novel told over five years with 110 different stories told within it.
I feel like science fiction can get a bad rap sometimes because people make something just to throw an alien in it or just to make it weird, and it doesn't really have a story.
Certainly going back to Sherlock Holmes we have a tradition of forensic science featured in detective stories.
I've always been a science fiction fan since I had understood the conception of what a story was.
In older science fiction stories, they had to rely on storytelling as opposed to spectacle. The old run of the 'Twilight Zone,' the star was the writing and the storytelling, and the characters and the twists and the cleverness in the setup and payof...
Every moment of a science fiction story must represent the triumph of writing over world-building.
I'm mostly a novelist these days, but I have written short stories in Fantasy, Science Fiction and horror.
Female success stories from sporting events like the Olympic Games have played a role in shifting the Indian perception to see the female athlete as a hero and a role model for young Indian girls.
My purpose is to have American Jews look away from the success story with which they've cheered themselves up, and to have them remember the classical tradition, whatever it is.
I think a lot of the people who write about me think that if they had to write fewer interviews then they would transcribe their life-story and it would be a big success. Or should be.
I feel incredibly fortunate to have had the level of success I've had. I was just writing stories for my own sons.
