A Quote by Barry Eisler
When I think of a story, somehow it just always seems to come out involving spooks and spies and government skullduggery.
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I love jokes that come out of nowhere. The ones where people look at the screen and go, 'What the Hell was that.' As long as it somehow ties back into the story, somehow.
I love jokes that come out of nowhere. The ones where people look at the screen and go, What the Hell was that. As long as it somehow ties back into the story, somehow.
We can't say anything, but just remember that, on Fringe, nothing is as it seems. There's always a little more to the story behind the story. He's definitely a large part, going forward. A lot of things will come full circle.
There are some who become spies for money, or out of vanity and megalomania, or out of ambition, or out of a desire for thrills. But the malady of our time is of those who become spies out of idealism.
Well, I don't ever leave out details, in that I don't come up with information or description which I don't then use. I only ever come up with what seems to me absolutely essential to make the story work. I'm not usually an overwriter. As I revise, it's usually a matter of adding in as much vivid details as seem necessary to make the story come clear without slowing down the momentum of the story.
I always kind of think I don't have a style, just whatever seems to be appropriate for the story.
Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.
I don't have any one way to tell a story. I don't have any rule book of how it's supposed to be done. But I've always said that if a story would be more emotionally involving told, beginning, middle, and end, I'll tell it that way. I won't jigsaw it, just to show what a clever boy I am. I don't do anything in my script just to be clever.
At the end of the day, I like the spy genre, as opposed to the action movie genre, because spies are smart. The successful spies are the smarter spies.
But you speak of Master Gandalf, as if he was in a story that had come to an end.' 'Yes, we do,' said Pippin sadly. 'The story seems to be going on, but I am afraid Gandalf has fallen out of it.
Come on now! You kick out the gooks, the next thing you know, you have to kick out the chinks, the spicks, the spooks, the kikes and all that's going to be left is a couple of brain-dead rednecks.
Do you ever get moods when life seems absolutely meaningless? It's like a badly-constructed story, with all sorts of characters moving in and out who have nothing to do with the plot. And when somebody comes along that you think really has something to do with the plot, he suddenly drops out. After a while you begin to wonder what the story is about, and you feel that it's about nothing—just a jumble.
It seems like it happens pretty often - there's always something that happens that's bad. About 40 percent of the food I make doesn't come out so good, only because I'm experimenting and it just doesn't work out right. It's always a learning experience.
From the outside, the CIA seems pretty exotic, but from the inside, it's a big, bureaucratic place. Think 'post office with spies.'
From the outside, the CIA seems pretty exotic, but from the inside, it's a big bureaucratic place. Think 'post office with spies.'
The Greek language seems different than other languages. I'm not the only person to think this. Usually, I come up with some kind of dopey metaphor for why it's different. But it seems, somehow, more original, more like being in the morning of language.
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