A Quote by Alethea Kontis

I have always loved really dense, complicated stories with lots of layers, tons of obscure literary references, and a plethora of inside jokes. — © Alethea Kontis
I have always loved really dense, complicated stories with lots of layers, tons of obscure literary references, and a plethora of inside jokes.
Whenever I'm giving talks, I always ask people to think of the most obscure questions because I enjoy those the most. I always get the same questions: Why does Pickwick say "plock" and will there be a movie? I like the really obscure questions because there's so much in the books. There are tons and tons of references and I like when people get the little ones and ask me about them. It's good for the audience [and also] they realize there's more there.
I'm a plethora of stolen jokes and kitschy references.
I love telling stories. And even in single images, I tend to have stories inside them. I've always loved film, but I was making drawings and paintings and photographs. And you put art and narrative together, and that really is comics.
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
The inside jokes weren't jokes anymore. they had become stories
I'm much more of a minimalist. My mom was Russian, so she loved lots of jewelry and opulence and tons of paintings on the wall and lots of clothes. I'll buy one thing that I love a season and wear it all the time.
The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.
I've always been terrible on regular sitcoms with lots of jokes. I don't know how to tell jokes.
I loved Omar Vizquel. He tells some really long jokes, and he has his own way of telling them, but he can make every joke very funny. He would always come up with jokes on the loudspeaker on the bus.
There are no movie references that I can think of in 'Robopocalypse.' However, there are tons of personal references. For example, the IP address that Lurker tracks actually goes back to the Robotics Institute at Carnegie Mellon University, where I studied robotics.
I do like crime thriller stories. That's because these stories have a lot of layers. There are always three sides to such stories... there is a truth, there is a lie and then there is the ultimate truth. Different human emotions and intense interpersonal relationships form the core of stories in this genre.
My act's not heavy on pop culture or stories, just lots of jokes.
I have always loved reading, so was interested in the literary world, and took many literary portraits.
The inside jokes weren't jokes anymore. They had become stories. Nobody brought up the bad names or the bad times. And nobody felt sad as long as we could postpone tomorrow with more nostalgia.
I'm interested in working with groups of actors to tell complicated stories about what's happening to people, and that's because I came out of the theatre where I worked in ensembles, and I really loved that.
I've read short stories that are as dense as a 19th century novel and novels that really are short stories filled with a lot of helium.
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