A Quote by Anthony Minghella
Look at it this way: if you write the novel of 'Cold Mountain,' it costs exactly the same to produce and market as a novel set in a room. If you make the film, the disparity of costs is huge.
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The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
It costs so much to make films. With a novel, you can write the whole thing on a ream of paper from Staples for $4.
It was really a means-of-production problem. It costs so much to make films. With a novel, you can write the whole thing on a ream of paper from Staples for $4.
A novel means a new way of doing a story. If you go back the origins of a novel, 'Clarissa' - that's not a novel; it's just a bunch of letters. But it isn't! Because it's organised in a particular way! A novel is what you make of it.
I see how complicated it is to make a film and how many people are involved and I love the fact that I get to sit in a room on my own and the set costs nothing and the actors cost nothing and I'm the director and it's so simple. You just need a pen and paper to make a book. You don't need a huge budget or a gaffer or a best boy.
If we somehow put a value on species extinction and factor that into our costs that bottom line would look very different. IF we put any resource depletion into costs our bottom line would change. So what we have is a dishonest market that does not take into account all the costs when it establishes its prices. We need an honest marketplace before we can let the market work for sustainability rather than against it as it works today.
Film as a medium, like a novel as a medium, possesses a unique ability to communicate. Film is capable of communicating in a way that no other medium can, and I would say the same for the novel.
I'm always trying to make something that is impossible to film. Why would somebody just read a novel when they can see it on TV or in the cinema? I really have to think of the things fiction can do that film can't and play to the strengths of the novel. With a novel, you can get right inside somebody's head.
I have no favourite genre or style but treat each novel with the same care, imagination and craftsmanship. It's as difficult to write a crime or a children's novel with a touch of style and grace as it is a literary novel.
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.
The field of the novel is very rich. If you're a composer, you're well aware of the history of composition, and you are trying to make your music part of that history. You're not ahistorical. In the same way, I think, if you write now, you are writing in the historical context of what the novel has been and what possibilities it has revealed.
There are always differences when you adapt a novel to a film. A novel is longer so you're automatically cutting out elements and introspection but this is actually a film that stays very close to the novel.
Another reason I think the novel will survive is that the reader has to work in a novel. In a film, you are presented with someone else's imagination exactly bodied out. The marvelous thing about a novel is that every reader will imagine even the very simplest sentence slightly differently.
It's very bad to write a novel by act of will. I can do a book of nonfiction work that way - just sign the contract and do the book because, provided the topic has some meaning for me, I know I can do it. But a novel is different. A novel is more like falling in love. You don't say, 'I'm going to fall in love next Tuesday, I'm going to begin my novel.' The novel has to come to you. It has to feel just like love.
Soon numbers of Chinese people will exit the work force, and the Chinese work force, which has already begun to shrink, will shrink in a vastly accelerated way. And so China's going to face huge retirement costs and Social Security costs, health care costs, related to this immense aging of the population.
When I complete a novel I set it aside, and begin work on short stories, and eventually another long work. When I complete that novel I return to the earlier novel and rewrite much of it. In the meantime the second novel lies in a desk drawer.
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