A Quote by Colm Meaney
If you're playing the a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
Related Quotes
If you're playing a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.
It was clear to me that the forms of consciousness of our inherited and acquired historical education - aesthetic consciousness and historical consciousness - presented alienated forms of our true historical being.
I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
In the same way that I've no desire to live in earlier historical periods, I never touch historical recipes. Most historical cooking is detestable.
We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.
If I am playing a historical character, I try to watch the person in newsreels and read about them, but I will not imitate them.
Writing historical novels can be dangerous. We need to be as accurate and as fair about the historical record as we can be, at the same time as creating our fictional characters and, hopefully, telling a good story. The challenge is weaving the fiction into the history.
If psychedelics are, on any level, to be taken seriously as catalyzers or expanders of consciousness, then we need them, because it's an absence of consciousness that is making this historical transition so excruciating.
Slavery is the most insane thing... I don't know that we've ever seen in history, but it's got to be close. The idea of slavery is such a base impulse. It's like, "I'm going to kidnap you and then you're going to do everything I want." Like, what? And then there's the historical aspect. It had a huge effect on human history.
The facts which our senses present to us are socially performed in two ways: through the historical character of the object perceived and through the historical character of the perceiving organ. Both are not simply natural; they are shaped by human activity, and yet the individual perceives himself as receptive and passive in the act of perception.
My first book was a historical novel. I started writing in 1974. In those days, historical novels meant ladies with swelling bosoms on the cover. Basically, it meant historical romance. It was not respectable as a genre.
If you make a determination that [story of Abraham and the sacrifice of Isaac] is not historical, do you throw it away? I don't think we can say whether it's precisely, scientifically historical.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
I don't want to be a historical action figure or treated like I'm dead. Like one of those people where they go, 'Oh, isn't she dead?' And then I walk up, and they're like, 'Whoa.' I can't really complain... because I've made myself into a historical action figure. I was like, 'Yeah, come on in!'
What I do when I create a character is put in details from all the people I know who might be like that person, and then put in a huge amount of myself.
Islam is unusual in that it's the only one of the great world religions which was born inside recorded history. That there's an enormous amount of factual historical record about the life of a prophet and about social conditions in Arabia at that time. So it's possible to look at the origin of Islam in a scholarly way.
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