I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.
I do think novels are overlooked. I did write one some years ago that I think is quite good, called 'The End of the Story,' not to blow my own horn.
I don't need the water to be inspired. My stories inspire me, not the location of where I'm parked. And good thing, since I've had to finish books in airports, in the RV we used to have, the lake house, while on vacation, at home, in the kitchen when...
I was told in many places of Osgar's bravery and Goll's strength and Conan's bitter tongue, and the arguments of Oisin and Patrick. And I have often been given the story of Oisin's journey to Tir-nan-Og, the Country of the Young, that is, as I am tol...
Basically, I see myself as a maker of things who knows how to support other makers of things. At the end of the day, I am just committed to helping put good stories out into the world in whatever role is appropriate and needed for that particular pro...
I love Los Angeles, and it's been very good to me, but if everyone is running around telling the stories, who's living them? You don't play characters that are celebrities - you play guys who know what to do when their septic tank's blocked.
When I was minister of sport in Brazil, I tried to bring in a law that would make the chairmen of clubs reveal their accounts like other businesses. It was turned down, but I think it is an important story that will make a good film.
I always write stories, and I write poems, too. I just never sell them to anybody, but I write them. They're good, too. They never leave the house. They're too disclosing.
Horror movies travel pretty well anyway. They're like action movies: People overseas can watch them and enjoy them, and they're not so culturally specific in terms of their references, and they can follow a good scary story.
There are a few writers whose lives and personalities are so large, so fascinating, that there's no such thing as a boring biography of them - you can read every new one that comes along, good or bad, and be caught up in the story all over again.
I've heard stories about movies that are really maybe difficult and really dramatic and good, but they are being sold as romantic comedies. All it's going to do is just... that's hurting the work, because that just makes it impossible for anyone to s...
All the writing elements are the same. You need to tell a good story... You've got good characters... People think there's some dramatic difference between writing 'Little Bear' and the 'Hunger Games,' and as a writer, for me, there isn't.
What I love about 'The Walking Dead' is it's a human story, which is to me what makes the comic book so good, but once you jump from the pages of the book to the screen, the gore and the zombies have to look great.
As far as I'm concerned, an audience is an audience. Whether it's an audience in Hull or the National Theatre, that's who you play to. It's not money - it's good to get some, but that's not why I do it. You do it because you have to, to tell a story.
I don't read a lot of magazines, but when I'm traveling, I'll pick up a copy of 'Vanity Fair' to read on the plane - it's like a full meal! The articles are so good, especially the crime stories. Browsing the Web is more like snacking - but I live on...
Good short-story collections, like good record albums, are almost always hit-and-miss affairs - successful if they include three or four great tracks, wildly successful if they have five. And that's as it should be.
Primarily, 'Black Girl/White Girl' is the story of two very different, yet somehow 'fated' girls; for Genna, her 'friendship' with Minette is the most haunting of her life, though it is one-sided and ends in tragedy.
The writer is both a sadist and a masochist. We create people we love, and then we torture them. The more we love them, and the more cleverly we torture them along the lines of their greatest vulnerability and fear, the better the story.
Someone asked me if I was afraid to write my memoirs. I told him: 'We have to stop drawing up accounts of fear! We live in a society in which people are allowed to tell their story, and that is what I do.'
I lived in New York my whole life. Like every New Yorker, I have stories about spending summers on the Jersey shore, riding the roller coaster in Seaside that is now famous for that sickening photo of it being washed out to sea.
I would love to do a biopic of a famous singer, like Diana Ross or Donna Summer, or an old jazz story that we haven't seen before. I would love to do that! I would love to play Diana Ross 'cause she's an icon. I'm salivating to do that.
