A Quote by Graeme Murphy
It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.
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Ask most people, and they will say their name or profession, but you have to know who you are both physically and mentally. It's really important in football because then you know your trigger points, how to adapt and improve.
It is useless for me to describe to you how terrible Violet, Klaus, and even Sunny felt in the time that followed. If you have ever lost someone very important to you, then you already know how it feels, and if you haven't, you cannot possibly imagine it.
I think people are a mixture of everything. I like desperate characters because they do things that most of us normally wouldn't do. If a character is a scoundrel or a liar you think you know them, but then I can bring some emotion to them and they become much fuller than you ever imagined. So what I try to do is have a story where you don't quite know where it's going, and characters who you don't quite know where they're going.
I don't know who they are[my characters] . They're entirely invented characters. Maybe that's how I've been able to write so many books, because there are no boundaries for me. I can write a completely fantastical story like "Swept Away" or "Blinded by the Light" and then a non-comic drama like "Chicxulub" or something like "Birnam Wood" that has autobiographical underpinnings. Why not?
It's the only way I really know how to tell the story is to be able to kind of live through the characters. So when I find something that resonates with me, it's usually because it cuts to something very real inside of me; something that I've gone through or experienced.
I usually start with an ending, then outline high points of things that happen, and kind of make up the rest as I go along. Occasionally, the characters surprise me, and I wonder how we got here. Other times, the characters are stubborn and won't do something I want them to in the story.
Every now and then you'll say something that didn't quite work. But the important thing is, as a comic, you try to learn why it didn't. And then you adjust and figure out how to either make it work or just abandon it because it's just not funny.
I like the strings. I always have. Because that's how it feels. But the strings make pain seem more fatal than it is, I think. We're not as frail as the strings would make us believe. And I like the grass, too. The grass got me to you, helped me to imagine you as an actual person. But we're not different sprouts from the same plant. I can't be you. You can't be me. You can imagine another well – but never quite perfectly, you know?
I said, "Well, why do you believe in the Klein Bottle?" He said, "Because I can imagine it." I said, "You don't have to imagine a Mobius strip. It's right there in front of you!" But [Buckminster Fuller] couldn't see how that could involve a cross cap, meaning something that couldn't be reduced to a two-dimensional surface. Which it does. It's because he was thinking that the matrix was the thing that a fly could walk over the edge of, like a torus.
For so long, it was just my secret. It burned inside me, and I felt like I was carrying something important, something that made me who I was and made me different from everybody else. I took it with me everywhere, and there was never a moment when I wasn't aware of it. It was like I was totally awake, like I could feel every nerve ending in my body. Sometimes my skin would almost hurt from the force of it, that's how strong it was. Like my whole body was buzzing or something. I felt almost, I don't know, noble, like a medieval knight or something, carrying this secret love around with me.
I think men under pressure - I mean, that's what brings out the worst and the best of us. I like to explore that quite a bit in my characters because I don't see a lot of it on the screen that moved me like the films that I grew up with - that are honest, at least, about honest emotions and honest heroism.
We're nothing if we're not loved. When you meet somebody who is more important to you than yourself, that has to be the most important thing in life, really. And I think we are all striving for it in different ways. I also believe very, very strongly that everybody is the hero/heroine of his/her own life. I try to make my characters kind of ordinary, somebody that anybody could be. Because we've all had loves, perhaps love and loss, people can relate to my characters
I started with things that I was troubled by or confused by or interested in, and then I wrote stories to try to puzzle my way through it. But the question is not how to represent war, because it's an abstract thing that's felt differently for all the characters.
He stepped colser. Looked deep into my eyes. Hesitated a millisecond, and then dove in. "I think I'm falling in love with you." Oh. No. "Cole--" "I know how you feel. About me. About him. I just wanted you to know-we could be good together. We could have a life. Kids. Vacations. On Sunday mornings I could serve you breakfast in bed." He gave me his I-know-you-find-me-irrestible grin. "And then I could make you something to eat.
We live and breathe words. .... It was books that made me feel that perhaps I was not completely alone. They could be honest with me, and I with them. Reading your words, what you wrote, how you were lonely sometimes and afraid, but always brave; the way you saw the world, its colors and textures and sounds, I felt-I felt the way you thought, hoped, felt, dreamt. I felt I was dreaming and thinking and feeling with you. I dreamed what you dreamed, wanted what you wanted-and then I realized that truly I just wanted you
Most games end up with quite caricature scripts because they are just here to serve the game-play mechanics but not to trigger any emotional response.
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