A Quote by Abdellatif Kechiche
I had started out with the intent to make a love story and something not so grave or so dark.So I went into this saying, "I want to do a love story, not to be seen with rose-colored glasses, but not as heavy." As it turned out, it surprised me the place where it led actually was something so painful. I identified so much with them that I experienced a lot of that suffering as well.
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I'd love to do a love story. I've never done a true love story, which would be awesome. But then again, I don't think I've had a true love story, even in my own life. Maybe that's something I want to explore in my own life first.
I started out looking for the perfect love story, but what I found instead was something even more beautiful - a messy love, an imperfect love, a human love. In this time of uncertainty, can I continue to love, even if it breaks my heart?
I would love, love, love to do a comedy like 'Gentleman's Guide,' something farcical and fast-paced, but I also want to do something that hasn't been written yet: the story of Sidney Poitier. A lot of people tell me that I look like him.
I wrote as a kid, but I never wanted to be a writer particularly. I had been drawing and painting for years and loved that. And I meditate, and one time when I was meditating, I started thinking, "Gee Gail, you love stories -- you read all the time. How come you never tell yourself a story?" While I should have been saying my mantra to myself, I started telling myself a story. It turned out to be an art appreciation book for kids with reproductions of famous artworks and pencil drawings that I did. I tried to get it published and was rejected wholesale.
One of the ways in which writers most show their inventiveness is in the things they tell us about how they write. Generally speaking, I don't like to make a plan before I've written a story. I find it kills the story - deadens it, makes it uninteresting. Unless I'm surprised by something in a story, the reader's not going to be surprised either.
I just started trying to figure out how to write [something] which was unlike anything anybody had ever seen, and once I felt like I had figured that out I tried to figure out what kind of book I could write that would be unlike anything anybody had ever seen. When I started writing A Million Little Pieces I felt like it was the right story with the style I had been looking for, and I just kept going.
My preference will always be theatre because it's where my heart lies and it's what I started with and eventually I want to direct it. It's where my real interest is. But I just love trying out new stuff. Acting for me isn't just for me about being in front of a camera ... it's so much more than that. It's always about telling a story and there are so many ways of doing that, so I'll always want to try something else.
I've seen everything from 'Wicked' to 'The Book Of Mormon,' and I don't make any bones of the fact that I love both. But 'Les Mis' is not only my favorite musical, but it's also my favorite story. I love the book, which I read as a kid, and I identified so much with Jean Valjean.
What's your story? It's all in the telling. Stories are compasses and architecture; we navigate by them, and to be without a story is to be lost in the vastness of world that spreads in all directions like arctic tundra or sea ice. To love someone is to put yourself in their place, we say, which is to put yourself in their story, or figure out how to tell yourself their story. Which means that a place is a story, and stories are geography, and empathy is first of all an act of imagination, a storyteller's art, and then a way of traveling from here to there.
I have loved no part of the world like this and I have loved no women as I love you. You're my human Africa. I love your smell as I love these smells. I love your dark bush as I love the bush here, you change with the light as this place does, so that one all the time is loving something different and yet the same. I want to spill myself out into you as I want to die here.
Love represents a lot of things. You can be in love with someone, you can be in love with something. You don't know why you love something so much, you just do. You gravitate towards it and then you figure it out later.
Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.
You know the troubles I've had with my two older children. I can't understand why it turned out so badly. I tried to give them everything. I loved them and tried to keep them near me, even when they didn't return my love. Well, I couldn't make them love me, but they could have shown some respect. I couldn't insist on love, but I could insist on respect.
For me, a story's a story if people want to hear it; it's very much based on oral storytelling. And for me, a story is a story when people give me the privilege of listening when I'm speaking it out loud.
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.
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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