'Shank' is set in 2015, and it's set in a post-apocalyptic world where the main commodity is food. It's about how five young gentlemen travel around that harsh terrain and survive.
The song "Sing for the Submarine" presents my dream world, which is way different from my waking world. It's set in the future and it's post-apocalyptic.
On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.
My novels about medieval Wales were set in unexplored terrain; my readers did not know what lay around every bend in the road.
I quite like post-apocalyptic films, things like 'Mad Max' for instance, because they are so full on and there is something quite cleansing about the post-apocalyptic because you can see where we all think we're heading.
One reason we planted the White House vegetable garden was to set an example about what food can mean, but to also begin a broader conversation about how we're feeding our kids, what they know about the food that they eat, how they're taking care of themselves.
Dude. Post-apocalyptic world. Who does job applications anymore?” “I do.” I squint at it, then him. “What are you paying me?” I angle. “Dude. Post-apocalyptic world. Who does money anymore.” I snicker. First sign of any sense of humor he’s shown. Then I remember where I am and why. I wad it up and throw it at him. It bounces off his chest.
I grew up in the '80s where there's a lot of these kind of post-apocalyptic, post-comet, post-whatever it was, so that always captured my imagination a lot as a little kid, that idea of getting access to secret places and being able to roam around where you're not supposed to.
On December 22, 1986, finding I was body positive, I set myself a target: I would disclose my secret and survive Margaret Thatcher. I did. Now I have set my sights on the millennium and a world where we are all equal.
I like hanging around the set and learning how people do things, how the set runs.
It doesn't matter where or how it is grown as long as it is packaged in plastic, put on the supermarket shelves, and bought as a commodity. In the New Story food is not commodity. Food is sacred. We need to be connected with soil, with animals that we take care of.
I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.
I am very much concerned when I see young gentlemen of fortune and quality so wholly set upon pleasures and diversions, that they neglect all those improvements in wisdom and knowledge which may make them easy to themselves and useful to the world.
You turn on the shower or you do whatever, but especially right now with the drought in California, there are so many resources that we are depleting so quickly. And so, I thought it would be an interesting skill set to have if something were to go down, or even if it weren't. It's not post-apocalyptic idealism. It's more just like a fun hobby.
What I find interesting and heartening, though, is that there does seem to be a shift in the subject matter being written about by women that is doing well in the culture. We're seeing more women writing dystopian fiction, more women writing novels set post-apocalyptic settings, subjects and themes that used to be dominated by men.
In the 2015 time frame, you'll probably see more mainstream adoption of set-top box technology using UltraHD. We'll start shipping it in 2014, but the volume will take off in probably 2015.
The Big Five publishing companies are dinosaurs trying to survive in a post-meteor world. They won't.