A Quote by Anthony Browne

Maurice Sendak is the daddy of them all when it comes to picture books - the words, the rhythm, the psychology, the design. — © Anthony Browne
Maurice Sendak is the daddy of them all when it comes to picture books - the words, the rhythm, the psychology, the design.
There's a book called 'Where The Wild Things Are,' by American writer Maurice Sendak... it really is the most sublime book. It's a picture book, but it works at so many levels, and it's fantastic.
The fact that Maurice Sendak said, "This is something that I made at your age, this was something that was personal to me, and now you need to take it and make something that's personal to you." I don't know, but we made the Where The Wild Things Are movie that we set out to make, and Maurice loves it. If Maurice was anxious about it, then I would be petrified.
I've always loved the wild rumpus in 'Where the Wild Things Are' by Maurice Sendak, because the words disappear, the pictures take up the whole page, and we move forward in the story by turning the pages.
My great influence has been Maurice Sendak, who drew 'Where the Wild Things Are.' His characters really interact with each other.
I grew up with probably three different authors having a seminal influence on my childhood, Dr. Seuss being one and Maurice Sendak being another.
I love picture books - with picture books, you can use words and pictures as a double act, even tell two different versions of a story at the same time.
Ursula Nordstrom was famous for finding artists in unlikely places. Maurice Sendak was a window designer, and she just came across one of his windows. Everyone was looking to find a talent.
Style is a very simple matter; it is all rhythm. Once you get that, you can't use the wrong words. But on the other hand here am I sitting after half the morning, crammed with ideas, and visions, and so on, and can't dislodge them, for lack of the right rhythm. Now this is very profound, what rhythm is, and goes far deeper than any words. A sight, an emotion, creates this wave in the mind, long before it makes words to fit it.
I love picture books. I think some of the best people in children's books are the ones who create their own picture books. I wish I could say I'm one of them, but I'm not.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
'James and the Giant Peach' magnificently starts out Dahl's career as a blithe and droll Bad Uncle corrupter and affirmer of youth. Its influence can be subsequently traced down the decades in everything from Maurice Sendak to Lemony Snicket to J. K. Rowling.
I hope to encourage more children to discover and love reading, but I want to focus particularly on the appreciation of picture books…. Picture books are for everybody at any age, not books to be left behind as we grow older. The best ones leave a tantalising gap between the pictures and the words, a gap that is filled by the reader's imagination, adding so much to the excitement of reading a book.
I grew up with probably three different authors having a seminal influence on my childhood, Dr. Seuss being one and Maurice Sendak being another. That was my parents, who exposed me to their stories. That's how I was introduced to the whole idea of not just reading, but storytelling in general.
Writing is so much about rhythm. If you've got another rhythm in the room, it spoils the rhythm of the words.
I was lucky enough to know Maurice Sendak, and talked to him about doing the movie. For a while, I was really apprehensive of it, because Where The Wild Things Are is a book I love so much, and I didn't want to add something to it just to be able to make a movie, or put my stamp on it, or something like that.
I usually start with the words. The rhythm of the words gives me the rhythm of the song, and then I look for the musical highlights in it to carry it.
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