A Quote by Amos Oz
Black Box is not a statement about injustice committed against Sephardi Oriental Jews or about the extremism of religious Jews or the lack of imagination of the old Israeli elites. It's a human story, in my view, first and foremost about a mystical communion between enemies. This is the inner story of the novel. This is my business as a novelist. It is not about positions and ideas.
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Most of the generation Trump - the alt-right people, the people who like me - they're not anti-Semites. They don't care about Jews. I mean they may have some assumptions about Jews. They may have some prejudice about Jews that the Jews run everything. Well, we do.
After Operation Protective Edge, I visited every one of the bereaved families. Religious and secular, rich and poor, Sephardi and Ashkenazi, Jews and non-Jews.
I'm all about the crossover. The role doesn't necessarily have to be white or Latina or black. It could be anything. But it's hard in Hollywood, because sometimes it's all about the box office. Or all about looks and things like that. It's not about the story that they have to tell.
Well, this is a story about books." About books?" About accursed books, about a man who wrote them, about a character who broke out of the pages of anovel so that he could burn it, about a betrayal and a lost friendship. It's a story of love, of hatred, and of the dreams that live in the shadow of the wind." You talk like the jacket blurb of a Victorian novel, Daniel." That's probably because I work in a bookshop and I've seen too many. But this is a true story.
Sometimes, recently Israeli-Palestinian conflict is indeed a clash between wrong and wrong. It is not as simple as fascism was. Every decent man had to be against fascism, period. It is not as simple as apartheid or colonialism or racism or misogyny. It is not simple because the Palestinians have no other land. They are absolutely right about this. The Israeli Jews also have no other land and they are absolutely right about this. It is a tragedy of two peoples claiming the same very small country, about the size of New Jersey.
The Holocaust never quite leaves Israeli Jews alone. Arabs use it against them and they use it against Arabs. Jews use it against other Jews. Even the president of the United States, it seems, can use it against the prime minister of Israel.
The average detective story is probably no worse than the average novel, but you never see the average novel. It doesn't get published. The average -- or only slightly above average -- detective story does.... Whereas the good novel is not at all the same kind of book as the bad novel. It is about entirely different things. But the good detective story and the bad detective story are about exactly the same things, and they are about them in very much the same way.
When I was a kid, I'd go to the African-American section in the bookstore, and I'd try and find African-American people I hadn't read before. So in that sense the category was useful to me. But it's not useful to me as I write. I don't sit down to write an African-American zombie story or an African-American story about elevators. I'm writing a story about elevators which happens to talk about race in different ways. Or I'm writing a zombie novel which doesn't have that much to do with being black in America. That novel is really about survival.
The thing I always guard against when I'm talking to people I'm working with about a script is that there's a thing I don't like and it's called "talk story." It's when you're talking about the story; the characters are tasked with talking about the story instead of allowing the audience to experience the story.
It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.
[During a pre-war interview with Hitler when he screamed at her, 'The Jews! The Jews! What are you doing about the Jews in America?':] Why nothing. We think we're just as good as they are.
We the Living is not a novel 'about Soviet Russia.' It is a novel about Man against the State. Its basic theme is the sanctity of human life - using the word 'sanctity' not in a mystical sense, but in the sense of 'supreme value.'
I don't know much about Hitler. Except that last thing, about the Jews. There has never been a country that put its heel down on the Jews that ever lived afterwards.
Ted Geisel was trying to make a statement about awareness and personal responsibility. He was very clear about that. But the ideas and themes in 'The Lorax' go beyond a love of trees. It's also a story about the dangers of greed and the power of redemption. That's what makes it a timeless tale.
I guess I would say that most of what I've learned about storytelling derives from novels and short stories. I cannot think of a novel or story, or a novelist or story writer, who thinks in terms of three-act structure.
When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.
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