A Quote by Anna Quindlen
My father expected his first child to be a boy, and when it didn't turn out that way he didn't let the fact get in the way of a good story.
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Like Frankenweenie is a story about a boy and his dog, Big Fish is the story of a father and his son, and all those conversations you can't have. It's universal, in a way that can go from one medium to another medium. That's been the funnest, figuring out what we can do in a Broadway show that's unique and special.
If you're a father of a child who dies, it's an experience that never leaves you. It scars you forever and ever and ever. And so when I do any kind of story with somebody who's in the same position as my daughter was, there's no question that something comes out of me and embraces that story in a way that only a father who lost a child could.
When the father is going on in his journey, if the child will not goe on, but stands gaping upon vanity, and when the father calls, he comes not, the onely way is this: the father steps aside behind a bush, and then the child runs and cries, and if he gets his father againe, he forsakes all his trifles, and walkes on more faster and more cheerefully with his father than ever.
Sherman made the terrible discovery that men make about their fathers sooner or later... that the man before him was not an aging father but a boy, a boy much like himself, a boy who grew up and had a child of his own and, as best he could, out of a sense of duty and, perhaps love, adopted a role called Being a Father so that his child would have something mythical and infinitely important: a Protector, who would keep a lid on all the chaotic and catastrophic possibilities of life. ~Tom Wolfe
There is a tension between our desire to get our kids to turn out a particular way versus letting them develop to be their own person. If there were a pill that would make my child turn out the way I wanted, I'm not sure I'd take it.
The story you envision as you start out is always a great story; when the facts turn out to be different from, or more complex than, what you expected, your first reaction is always disappointment. That's when you must fight the urge to bend the story to your preconceived notions. First, it's dishonest. And second, in the end, the truth is always the best story.
You never know how things are going to turn out in a movie. You can imagine a scene one way, and it can turn out to be completely the polar opposite of what you expected. You just have to roll with the punches.
A good story is alive, ever changing and growing as it meets each listener or reader in a spirited and unique encounter, while the moralistic tale is not only dead on arrival, it's already been embalmed. It's safer that way. When a lively story goes dancing out to meet the imagination of a child, the teller loses control over meaning. The child gets to decide what the story means.
'East of Eden' is an important story for me. It's about a kid that's misunderstood and feels like he's not loved by his father. It's a very father-son kind of story, and it's not until the end that they sort of make up. I like that because every boy has trouble with his father, so it's very relatable.
When the father dies, he writes, the son becomes his own father and his own son. He looks at is son and sees himself in the face of the boy. He imagines what the boy sees when he looks at him and finds himself becoming his own father. Inexplicably, he is moved by this. It is not just the sight of the boy that moves him, not even the thought of standing inside his father, but what he sees in the boy of his own vanished past. It is a nostalgia for his own life that he feels, perhaps, a memory of his own boyhood as a son to his father.
I saw my father deal with every headache the government threw his way - whether it had to do with the signs on the front of the building or the prices on the showroom floor. He knew he could do better, if government would just get out of the way - and stay out of the way. He was right.
If you want to turn out an atheist child, unconditional love constantly is a good way to do it.
I had a Jewish grandfather. We managed to hide this fact from the authorities by falsifying documents, my father and I. His father was Jewish, but because my father was an illegitimate child, it was rather easy to pretend that his father was unknown.
His mother got her purse. His father reached for the door. "Scooter," he said, by way of good-bye, "have fun with your friends." But Hale was shaking his head. He put his arm around Kat's shoulders. "She's not my friend, Dad. She's my girlfriend." Hale's parents must have walked away, but Kat wasn't looking. She was too busy staring up at Hale, trying to see into his eyes and know if he was okay. The sadness that had lingered for weeks was fading, and the boy that held her was the boy she knew. A boy who kissed her lightly.
There was no name for the disease; his body had gone insane, forgotten the blueprint by which human beings were built. Even now the disease still lives on in his children. Not in our bodies, but in our souls. We exist where normal human children are expected to be; we're even shaped the same. But each of us in our own way has been replaced by an imitation child, shaped out of a twisted, fetid, lipidous goiter that grew out of Father's soul.
The parents have to learn that the child should not be insulted, humiliated, condemned. If you want to help him, love him more. Appreciate what is good in him rather than emphasizing what is bad. Talk about his goodness. Let the whole neighborhood know how nice and beautiful a boy he is. You may be able to shift his energy from the bad side to the good side, from the dark side to the lighted side, because you will make him aware that this is the way to get respect, this is the way to be honored. And you will prevent him from doing anything that makes him fall down in people's eyes.
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