A Quote by Eleanor Catton
One of the things I really like about Victorian novels is the close anatomisation of character. People's gestures and mannerisms and the quality of their thought is very closely identified and analysed.
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I like all sorts of things, not necessarily just Victorian. Even though I tend to read a lot of Victorian novels, I like a lot of contemporary stuff.
I think there's a false division people sometimes make in describing literary novels, where there are people who write systems novels, or novels of ideas, and there are people who write about emotional things in which the movement is character driven. But no good novels are divisible in that way.
Period films to me are very often alienating to the audience. There's very often a formality. A staunchy quality to them that comes from the misenscene. It also comes from the performances of the actors, because they're acting Victorian which really means that they're just acting the way they've seen previous actors act Victorian.
The Neapolitan novels have a lot of references to things outside, to things of the world, to culture, politics, the city of Naples. People have mentioned that Naples is like a character in the novels.
The man Dickens, whom the world at large thought it knew, stood for all the Victorian virtues - probity, kindness, hard work, sympathy for the down-trodden, the sanctity of domestic life - even as his novels exposed the violence, hypocrisy, greed, and cruelty of the Victorian age.
Jekyll is quite me: young man; polite. But being able to play Hyde was quite fun, to create a character that's nothing like me. I quite enjoyed creating a new character like that: he had a different voice; physicality; mannerisms. Everything had to be thought about. It was a real challenge.
Even in my comedies, I don't take anger as a joke. I think anger and laughter are very close to each other, when you think about it. One of the things I like about a character: I always think it's fascinating when a character can turn on a dime and go from one emotion to another. I like watching that.
I really love to make sweeping historical gestures that are like little illustrations of novels.
When I was working on a Victorian-era novel, to get in the mood, I read several historical novels set in approximately the same period and place, and really enjoyed the detective novels of John Dickson Carr.
I don't really care about audio quality. If people saw some of the ways that I record stuff, they'd see I don't care in that respect. I obviously care about things sounding good, but I think quality exists through other things like emotionally connecting with a lyric or a feeling, or whatever.
I'm a severe graphic novels junkie. People ask me about it, and I say I like the graphic novels. Comic books are for kids, and graphic novels are for adults. But you can't really separate the two.
My first attraction to writing novels was the plot, that almost extinct animal. Those novels I read which made me want to be a novelist were long, always plotted, novels - not just Victorian novels, but also those of my New England ancestors: Herman Melville and Nathaniel Hawthorne.
But music seems to me to be the most closely identified with my soul. I mean, I feel that it’s the best for me. It just gets into the bloodstream so quickly, for no reason at all. You can close your heart, and you can sleep even with your eyes closed, but you can never close your ears.
We suffer the stress of infinite opportunity: There are so many things that we could do, and all we see are people who seem to be performing at star quality. It's very hard not to try to be like them. The problem is, if you get wrapped up in that game, you'll get eaten alive. You can do anything-but not everything. The universe is full of creative projects that are waiting to be done. So, if you really care about quality of life, if you want to relax, then ... control your aspirations. That will simplify things. Learning to set boundaries is incredibly difficult for most people.
My mom and I have the exact same mannerisms - the way we talk and the gestures that we made.
The Reformed Church was identified with the old all-white government of South Africa and its apartheid policy. The Roman Catholic Church was closely identified with the Franco and Salazar dictatorships in Spain and Portugal. . . . More recently, . . . the Serbian Orthodox Church has come to be identified with the policies of Serbia (Yugoslavia).
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