A Quote by Carlos Ruiz Zafon
Everything is a tale, Martin. What we believe, what we know, what we remember, even what we dream. Everything is a story, a narrative, a sequence of events with characters communicating an emotional content. We only accept as true what can be narrated.
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The trite answer is that everything is true but none of it happened. It is emotionally true, but the events, the plotting, the narrative, isn't true of my life, though I've experienced most of the emotions experienced by the characters in the play.
A memoir is not an autobiography. It's a true story told as a novel, using techniques of novelization. The author is allowed to compress events, combine characters, change names, change the sequence of events, just as if he's writing a novel. But it's got to be true.
There are two magic acts I want to pull off when I write. One is creating a feeling that when you're inside a book, you believe everything you're reading even when you know it's not true. And the second is an extension of that, which is you know it's not true, you know it's not real, but you believe it anyway. And it's that believing of the story that isn't real that attracted me to writing and storytelling in general.
Recounting the strange is like telling one's dreams: one can communicate the events of a dream, but not the emotional content, the way that a dream can colour one's entire day.
'Mogul' is a very emotional project. This is a story which will be narrated only once.
Everything you look at can become a fairy tale and you can get a story from everything you touch.
Yet it is the narrative that is the life of the dream while the events themselves are often interchangeable. The events of the waking world on the other hand are forced upon us and the narrative is the unguessed axis along which they must be strung.
Surreal fiction is a sophisticated art form. Events happen divorced from conventional logic, as events in a dream may happen. But unlike dreams, everything in the story contributes to an overall coherent point, impression or emotion.
In fact, I always assumed that most everything I read was true, to one degree or another. I couldn't articulate this fact until after I read Tim O'Brien's The Things They Carried and he discussed Happening Truth, Story Truth, and Emotional Truth. I always understood that the facts of The Sun Also Rises or On the Road were the facts as dictated by a certain narrative structure, but because the experiences of those characters echoed my own feelings about the world. I knew there was a Happening Truth behind them.
The story is the only thing that's important. Everything else will take care of itself. It's like what bowlers say. You hear writers talk about character or theme or mood or mode or tense or person. But bowlers say, if you make the spares, the strikes will take care of themselves. If you can tell a story, everything else becomes possible. But without story, nothing is possible, because nobody wants to hear about your sensitive characters if there's nothing happening in the story. And the same is true with mood. Story is the only thing that's important.
The most important thing for me in an action sequence is, you understand the characters' intention and the challenges the characters are going to have to face: what the character story is within the action sequence.
Truly great performers reveal not only their characters but bring everything they know about the world with them. It's not just what's in the script but the story of everything you've done and of who you are. If you're Chaplin, you're the immigrant. No matter what he's doing, he's always the little guy trying to make his place in the world.
Doesn't it get on my nerves when people say science doesn't know everything. Science knows it doesn't know everything otherwise it would stop. Just becuase science doesn't know everything doesn't mean you can fill in the gaps with whatever fairy-tale appeals to you.
Changers are characters who alter in significant ways as a result of the events of your story. They learn something or grow into better or worse people, but by the end of the story they are not the same personalities they were in the beginning. Their change, in its various stages, is called the story's emotional arc.
Yes, it is true that I wanted to direct Rajinikanth in 'Bhoothakkannadi,' and I even narrated the story to him. But the project never materialised.
The American Dream is individualistic. Martin Luther King's dream was collective. The American Dream says, "I can engage in upward mobility and live the good life." King's dream was fundamentally Christian. His commitment to radical love had everything to do with his commitment to Jesus of Nazareth, and his dream had everything to do with community, with a "we" consciousness that included poor and working people around the world, not just black people.
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