A Quote by Ian Hart
Even before my audition, there were several pages missing from my script because those bits were so unbelievably secret not even I was allowed to see them.
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The hardest bits of my book to read were the easiest bits to write because they were the most immediate. Probably because I had never stopped thinking about them on some level. Those bits I was just channelling and those were the most exciting writing days. The bits I found harder were the bits that happen in between, you know, the rest of living. There were whole years, whole houses, that I just got rid of.
We did marry in secret and it was several years before we even told our parents that we were married.
Even before the mainstream knew about P.O.D., we were going for several years underground. For me, those were the times where it really was about the music and really about the fan base.
For example, the insurance industries and the big banks are absolutely euphoric now - on the business pages they don't even conceal it - because they've succeeded in coming out of the crisis even stronger than they were before, and in a better position to lay the basis for the next crisis. But they don't care, because they'll get bailed out again. That's class consciousness with a vengeance.
'Glass Sword' has several set piece scenes that I plotted out or visualized before I wrote them, but I always knew they were coming. They anchor bits of the story.
Those damned Abstract Expressionists. They were a major problem. Because the critics adored them to such an extent, reams and reams, pages and pages of articles about Abstract Expressionists, when we came along, we were just not taken seriously at all.
Later, I went one step further, by putting in some invented "historical" bits [into the Lincoln in the Bardo]. And reading those alongside the actual historical bits was like looking into a sort of a painful mirror, because "my" parts were so show-offy at first. They stood out because they were so flamboyant.
I first became fascinated with the Sears catalogue because all the people in its pages were perfect. Nearly everybody I knew had something missing, a finger cut off, a toe split, an ear half-chewed away, an eye clouded with blindness from a glancing fence staple. And if they didn't have something missing, they were carrying scars from barbed wire, or knives, or fishhooks. But the people in the catalogue had no such hurts. They were not only whole, had all their arms and legs and eyes on their unscarred bodies, but they were also beautiful.
But what will happen even if we do burn down the Jews synagogues and forbid them publicly to praise God, to pray, to teach, to utter God's name? They will still keep doing it in secret. If we know that they are doing this in secret, it is the same as if they were doing it publicly. for our knowledge of their secret doings and our toleration of them implies that they are not secret after all and thus our conscience is encumbered with it before God.
Even before his detention, my father was fighting many cases. He remained in jail in Multan. He remained in jail in Bannu. But we were not allowed to go see him there. We always saw him in courts. So for me, the courts were a place where you dressed up to see your father. It had a very nice feeling to it.
Often when you get a really good script, and you receive the new pages, you see that the entire thing has been dumbed down. Films in the '30s and '40s, that were huge blockbusters, were very sophisticated in their language, and the ideas they brought. There were no questions about whether the audience would get it or not.
I didn't even know there were stars to look at to not see. If you don't know that they're there, you don't know that you're missing them.
When we were filming 'The Darkest Hour,' we didn't even know what the aliens were going to look like, we didn't even have a graphic reference. So it was definitely a big challenge to sell those kind of extreme moments when you're just generating them from your own imagination.
I went to a strict school. Even if a button was missing here and a clip missing there, we were punished.
The '60s were a remarkable time because several things were happening at once. Men were leaving planet Earth, kids were breaking into the television age, and I was able to see Neil Armstrong walking on the moon.
Before 'The Walking Dead,' a few of the jobs before that were just like, 'Ugh.' I try and make everything as creative as possible, even when I get the script and can't imagine what I'm going to do with it.
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