A Quote by Chris Roberson

One of the things that fascinates me most about the toys of the Sixties and Seventies is that they were characters without stories, as such. — © Chris Roberson
One of the things that fascinates me most about the toys of the Sixties and Seventies is that they were characters without stories, as such.
The thing that probably frustrated me and hurt me the most was when there were inaccurate stories written about me or stories that were written that were trying to imply or infer things that weren't true.
I feel like the seventies was a decade where things ran out, and where other things set in. There was just a lurking graininess and seediness about the decade, a slight grogginess of the hangover from the sixties.
Men are nuts. Young men are crazy. We all love toys. I'm toy oriented. I write about toys. I've got a lot of toys. Hundreds of things. But computers are toys, and men like to mess around with smart dumb things. They feel creative.
To me, the most amazing the most amazing transformation in my lifetime is not the revolution of the Sixties but the counter revolution of the Seventies, where they managed to put the cuckoo clock back together again
I do think that people who are now in their sixties and their seventies are living a different kind of life than their grandparents led, even in these tough times. A lot of them are more active, a lot of them are still working, which was not the case when our grandparents were in their sixties.
On the other hand, the seventies were drab. That is, I am utterly fascinated by the fifties and sixties.
I am worried that young Japanese people are not very curious about the outside world - which is so different to the way we were in the Sixties and Seventies. All they want to listen to is Japanese pop. They haven't even heard of Radiohead!
Dance fascinates me, and it is perhaps the most enriching audio-visual realm for a musician. Film-making also fascinates me.
As children in the seventies we were told about nebulous 'strangers'. By definition, we didn't know who these strangers were, and we didn't know what they wanted to do, but only that they were sinister. I think that was the stage the seventies were at.
Generally, older people in their fifties, sixties, and seventies are running most countries and are CEOs of corporations. Which isn't to say there aren't entrepreneurs, but if the young were better in every respect, there'd be no reason for the old. Our life span reflects our particular life strategy.
As an older person, I do feel an obligation to tell the story about what was really happening in the fifties, sixties, and seventies, as I saw it.
I had these cheap alien toys and I made up stories for them. They were space pirates. They didn’t have names so I made up names. These were the first stories I wrote. Even as a little kid I was thinking about torture.
You're writing for some version of yourself. You're writing the kinds of things that you like to read or wanted to read at a certain point. So, primarily for most of my career, I've written the kind of criticism that fascinates me. The things I discovered the things that get me going, that I'm excited about.
In the Led Zeppelin shows of the Sixties and Seventies, it was the same numbers every night, but they were constantly in a state of flux. If I played something good, really substantial, I'd stick it in again.
That larger story in 'Salvage the Bones' is just about survival, and I think that, in the end, there are things about this novel and about these characters' experiences that make their stories universal stories.
Because I never plan anything out ahead of time, I'm always in the process of learning about my characters. Without a biographical sketch to guide me, I discover things about my heroines as the stories unfold. Only in 'Body Double' did I discover that Maura's mother was a serial killer.
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