A Quote by Frank Norris
Things can happen in some cities and the tale of them will be interesting: the same story laid in another city would be ridiculous.
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"A Tale of Three Cities" is a tribute to our parents' generation, who escaped from city to city in search of their loved ones and in search of a place to build a better home. The story is set during the turbulent war years in China in the '40s and '50s.
In trading with each other cities can't be in too different stages of development, and they can't copy one another. Backward cities, or younger cities, or newly forming cities in supply regions, have to develop to a great extent on one another's shoulders. This is one of the terrible things about empires. Empires want them only to trade with the empire, which doesn't help them at all. It's just a way of exploiting them.
In Sweeden every city looks the same. I've been to sixteen cities, and every single city is the same! The same cobblestone, the same McDonalds, the same everything. Everything was designed by the same guy. They must have saved a lot of money when they designed all the cities.
China has some cities, traditional cities, with a long history. They are so beautiful, and they were planned so smartly. I call them gardens on the city scale. For example, Beijing has mountains, waters, lakes, bridges, towers. It was a very poetic city.
In the West, if a city faces financial difficulties, it'll go bankrupt. But in China, cities will be subsidised by the Ministry of Finance. So some small- and medium-sized cities aren't worried about going bankrupt. They figure the central government will help them out.
It's the city's crush and heave that move you; its intricacy; its endless life. You know the story about Manhattan as a wilderness purchased for strings of beads, but you find it impossible not to believe that it has always been a city; that if you dug beneath it you would find the ruins of another, older city, and then another and another.
There are certain scenes, certain hills and valleys and groves of pines which demand that a story shall be written about them. I would refine; I would say that the emotions aroused by these external things reverberating in the heart are indeed the story; or all that signifies the story....We translate a hill into a tale, conceive lovers to explain a brook, turn the perfect into the imperfect.
What's interesting to me is that in terms of people who I feel are getting what my game is about - and here I'm not even talking about what the elements of the story mean, like, whatever symbolism and metaphors and things are in there. But even the structure of the game, like, there's a fundamental structure and reasons in the way things are laid out, and parts of the game that are meant to draw people's attention to certain things, regardless of what's contained in that structure. And what's interesting to me is that some people get that, and some people don't.
Writing two stories [in the Thorn and the Blossom] about the same set of events that were complete stories in themselves, but also added up to a larger story. As I was writing them, I kept going back and forth, because something would happen in one story that would have to be reflected in the other story. And yet the same event would also have to be perceived in different ways by Brendan and Evelyn, because they are different people with their own interpretations.
We make weapons now that, if we ever used them, would kill ourselves. How do you explode a weapon with so much radiation in it that it will wipe out an entire city and think that it's not going to blow over your own cities? We all breathe the same air. It's madness.
It's great to have a job and then go to another one, and have another one to go to after that. It doesn't always happen; you might be waiting a few months. But I've had some interesting roles, and worked with some great people. And it has been a really interesting mix between theatre television and film.
You think it will never happen to you, that it cannot happen to you, that you are the only person in the world to whom none of these things will ever happen, and then, one by one, they all begin to happen to you, in the same way they happen to everyone else.
It won't happen yet, Ellen mused, mashing cooked carrots for Jill's lunch. Breakups seldom do. It will unfold slowly, one little tell-tale symptom after another like some awful, hellish flower.
All who say the same things do not possess them in the same manner; and hence the incomparable author of the Art of Conversation pauses with so much care to make it understood that we must not judge of the capacity of a man by the excellence of a happy remark that we heard him make. Let us penetrate, says he, the mind from which it proceeds. It will oftenest be seen that he will be made to disavow it on the spot, and will be drawn very far from this better thought in which he does not believe, to plunge himself into another, quite base and ridiculous.
... Washington was not only an important capital. It was a city of fear. Below that glittering and delightful surface there is another story, that of underpaid Government clerks, men and women holding desperately to work that some political pull may at any moment take from them. A city of men in office and clutching that office, and a city of struggle which the country never suspects.
For me to do a story, something has to happen to someone. It's a story in the way you learn what a story is in third grade, where there is a person, and things happen to them, and then something big happens, and they realize something new.
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