Top 573 Quotes & Sayings by Daniel Handler - Page 10

I'd made pretty clear to the people at Paramount and Dreamworks that, if they wanted Lemony Snicket to comment, he would be completely horrified by the entire film. And as long as they understood that, it was okay. I'm not much of a fan of DVD commentaries myself, so this was my way of getting revenge, in a sense, for all the puffed-up directors and stars who talk endlessly about the self-aggrandizing minutiae of making a movie.

I'm always loath to make generalizations about what is for children and what isn't. Certainly children's literature as a genre has some restrictions, so certain things will never pop up in a Snicket book. But I didn't know anything about writing for children when I started - this is the theme of naïveté creeping up on us once more - and I sort of still don't, and I'm happy that adults are reading them as well as children.

I have this fantasy that the second movie would begin with a brief statement by all of the young actors who had played the children in the first movie, explaining how it had ruined their lives, so we would catch up with Emily Browning drinking heavily in the back of a burlesque bar, and maybe Liam Aiken would be living underneath a bridge, and then instead of the twins who played Sunny, we would just try to find the oldest woman in the world, and get an interview with her sitting in a trailer park.

I'd finished the first two [books] and they were going to to be published, and [editor] said, "We need you to write a summary that will drive people to these books." And it took forever. I couldn't think of a thing to say. I looked at the back of other children's books that were full of giddy praise and corny rhetorical questions, you know, "Will she have a better time at summer camp than she thinks?" "How will she escape from the troll's dungeon?" All these terrible, terrible summaries of books, and I just couldn't.

I think there are probably just as many adults who would miss the humor of my books, if not more, as there are children.

I don't think film is the writer's medium, and so I was interested to see what a director would do with it.

I can't imagine why you would want to take your child to see what the career of a writer is like, because it mostly consists of sitting in a room typing, or going to the library and looking something up. Those are not exciting things to watch.

The trouble with talking about irony is, it's such a slippery thing that the second you start talking about it, you're a better example of it than you are an analyst.

I was so grateful that Lemony Snicket wasn't the worst movie ever made that I overlooked many things that might have otherwise upset me.

I'd written my first novel for adults, which was called Basic Eight and was set in a high school, and we were having a devil of a time selling it. It ended up in the hands of an editor of a children's publishing house, for which it was entirely inappropriate. She said, "Well, we can't publish this, but I think you should write something for children," which I thought was a really terrible idea.

I never thought about whether film is inherently more sincere, because certainly I think if Guy Maddin had directed A Series Of Unfortunate Events, there probably could have been more of the stage-y irony that is in the books. But I was just interested to see what people would do with it, and worrying that Brad Silberling wouldn't do what I had in mind.

The more I protest that I'm not Lemony Snicket, and that I'm Daniel Handler instead, the more it becomes clear to the audience that I am in fact Lemony Snicket, that I am in fact standing in front of them.

I had written eight drafts of the Lemony Snicket' screenplay when this changing-of-the-guard thing happened, and I said to the new producers, "I don't think I could write any more drafts." I guess I was sort of hoping they would say, "Well that's okay, this last one is perfect." But instead, they said, "It's funny you should say that. We don't think you can write any more drafts either."

The Basic Eight and Watch Your Mouth both have first-person voices, and I ended up investigating those voices and investing so much in them that I think many people took them more seriously than they ought to have.

I think if I were walking someplace and I saw a corpse my brain would tell me it was a million things before I believed it was a corpse.

The Edith Head Trio, I would say, would be even less of a musical career than playing the accordion, particularly because I played the accordion in The Edith Head Trio. I'm very impressed by your Googling. The Edith Head Trio and another band, Tzamboni, were two bands I was in after college that played at tiny clubs to little acclaim. Our Gypsy tango version of "When Doves Cry" was our biggest hit.But we were not destined for greatness.

I was once almost forced off the stage at a large chain bookstore that shall remain nameless, because she introduced me as Lemony Snicket, and I immediately interrupted her and said, "Oh no, Lemony Snicket isn't here," and then she tried to cancel the event right then and there.

I find reading screenplays difficult, as they're only a roadmap for what a movie might end up being.

The way that the stories go in the Snicket books is just the way stories naturally go to me. They're full of misery, and yet the misery ends up being slightly hilarious. And in terms of the warnings on the back of the books, that really started as an honest assessment of their marketability.

With the publishing of The Basic Eight, it was often assumed that I was really immature and callow, and with the publishing of Watch Your Mouth, it was assumed that I was oversexualized, and with Lemony Snicket, it's often assumed that I'm erudite and depressed. But all the voices more or less came naturally to me.

It turns out she is Canadian, my editor, and so she drinks like a fish. So she wasn't a lightweight at all. And in the morning, she said that the idea still seemed like a good one, and here we are.

I think pirates, like astronauts, particularly for a boy, are always kind of worth thinking about.

I met [my editor] in a bar where alcoholic beverages are served and I bought her one and I told her the idea. And she said that she liked it very much, which embarrassed me because I thought it meant that she was a lightweight and that in the morning, as so many women say to so many men, what seems like a good idea, you know, turns out not to be.

It's funny, particularly when you're a writer and you're doing well, you have that sense of like, "Oh! My view of the world is the one that's going to be published."

I've never had a musical career. So I think it's been unaffected. I play the accordion. In terms of thinking of it as a musical career, I think it's sort of like calling yourself an astronaut because you have a shiny suit.

Daniel Handler's a writer, musician and the author of, among other things, the "Series Of Unfortunate Events" books. He also wrote the TV version of the books that is available now on Netflix. As said, I recommend both media for this story.

I love meeting people who have absolutely no sense of irony. It's really fascinating to imagine what it would be like to go through life without understanding even the most basic of ironies.

If I were to say, "Yes, I am a fascinating, erudite person," what would that say about me? I don't know.

Occasionally there are parents who say, "I brought my child so he or she could learn what the career of a writer is like, and you did this long theatrical performance instead, and I'm very disappointed."

I had this idea about terrible things happening to orphans, and I knew it was such a horrible idea that the idea of writing it down and then submitting it professionally was obviously absurd.

I do think of emotions as being on a circular path, so you can feel terrible and terrible and terrible, and then all of a sudden it becomes quite funny.

I decided that it might be interesting to have terrible things happen to orphans over and over again.

When you start reading nonfiction books about piracy, you realize that it's actually just a history of desperate people.