A Quote by George R. R. Martin
I'm not a writer who's preaching some particular philosophy or something but the big questions do concern me and I like to make my readers think and debate and argue with each other and look at some aspect of the world or some act of governance or war or power and have an angle they haven't considered before, and that's something I strive for and hopefully have accomplished.
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I like the idea of people who've had some success in one form secretly wanting to be something else; I have some of that myself. I look for it in other people who've established themselves in some particular art form, and then you find out that they really would like to design running shoes, or edit literary magazines or something.
An activist is someone who cannot help but fight for something. That person is not usually motivated by a need for power or money or fame, but in fact is driven slightly mad by some injustice, some cruelty, some unfairness, so much so that he or she is compelled by some internal moral engine to act to make it better.
Whatever they do, criminals and non-criminals act in particular ways. Some writers, for instance, use computers, others pen and paper. Some write in the morning, some at night. Each writer has a distinct style, with variations in grammar, sentence structure, and voice.
This clarity made me able to behave normally, which posed some interesting questions. Was everybody seeing this stuff and acting as though they weren't? Was insanity just a matter of dropping the act? If some people didn't see these things, what was the matter with them? Were they blind or something? These questions had me unsettled.
Boxing is what you make it. If you want to make it exciting, if you want to make it something where people are going to look and say, "Wow! Look at the guy. Who does he think he is?" You can do that. If you just want to go in there, punch each other, and then shake hands at the end of the night. You can do that, too. I know what I would rather pay money to see. Some people enjoy it, some despise it. Whether people like it or hate it, they still buy a ticket. We want boxing to be centre stage and you can't have that with guys who don't excite.
The history of the world is like: He kills me, I kill him, only with different cosmetics and different castings. So in 2001, some fanatics killed some Americans, and now some Americans are killing some Iraqis. And in my childhood, some Nazis killed Jews. And now, some Jewish people and some Palestinians are killing each other.
There's a fine line between imagination and reality. An inventor dreams something up, and pretty soon, it's there on the table before him. A science-fiction writer envisions another world, and then some space probe finds it. If you believe in something strongly enough, I think you can make it happen.
I think each book sort of finds its own theme as it goes on. 'Warded Man' was fear. 'Desert Spear' was exploration of the other. 'Daylight War' was relationships. Some of this is intentional, and some of it evolves naturally. The series as a whole is obviously something I have given a lot of thought to, but each book is its own animal as well.
Students may feel the criticism is harsh, but I think it's possible they haven't had criticism before. It's my job to point out when something is badly done, or when there's no point of view. To build a brand you have to have something about you. If not personality, then some thought process. I'm 40, and they're young, so they're meant to be informing me. They should be bringing me a book or something that I haven't seen, not like some obscure chant book by Dominican monks, but an image of the way they see the world.
I would not be like those Authors, who forgive themselves some particular lines for the sake of a whole Poem, and vice versa a whole Poem for the sake of some particular lines. I believe no one qualification is so likely to make a good writer, as the power of rejecting his own thoughts.
There must be some other possibility than death or lifelong penance, said the Ellen Ward of my dream, that woman I hate and fear. I am sure she meant some meeting, some intersection of lines; and some cowardly, hopeful geometer in my brain tells me it is the angle at which two lines prop each other up, the leaning together from the vertical which produces the false arch.
I think that, every individual you invent in narrative work, you have to have some root in who that person is. That may be an aspect of yourself; it may be an aspect of something that you like, that you don't like. It may be an aspect that you wish you had. Maybe something you admire in another person.
I have always been really picky about the films that I make, because I think that there's such an incredible opportunity to bring up questions when you're making movies, and some of my favorite films bring up big questions. They are movies that, when you walk away from it, it hits you as something deeper, and it's a great, fun way to be able to bounce around some of these harder concepts in our heads.
Hopefully with each thing that you do you're learning something, you're growing, and you're pushing yourself a little harder in some way or another. So I think you'd be in real trouble if each new thing that you create didn't feel like 'Oh, wow. I feel like I'm doing something a little different this time.'
Hopefully with each thing that you do you're learning something, you're growing, and you're pushing yourself a little harder in some way or another. So I think you'd be in real trouble if each new thing that you create didn't feel like 'Oh, wow. I feel like I'm doing something a little different this time.
Musicians get tense at big gigs. Some you can't talk to before the concert; some you can't talk to afterwards; some need the same size dressing rooms as others; others need bigger; some have comments to make on others' musicianship or how a particular song ought to be played.
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