A Quote by Jonathan Dee

The don't-ask-don't-tell approach to plot and character that 'The Hurt Locker' relies on to set itself in motion doesn't offend me politically. It offends me as a storyteller.
I'm an educator, and I'm a scientist, and I speak what is objectively true. And if that offends you, I can try to have a conversation with you to ask why it offends you, and tell you why objective truth should not offend you because that's how the world works.
I have thick skin. I'm not a baby. Nothing really offends me. If there's something I think might offend me, I don't listen to it.
Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.
If somebody from the past doesn't rise up from the grave and start talking to me, I haven't got a book. I have to hear that voice, the voice of the narrator. How she sounds will tell me who she is, and who she is will tell me how she will act - and that starts the plot in motion.
I'm certainly a plot and character man. Themes, structure, style - they're valid components of a novel and you can't complete the book without them. But I think what propels me as a reader is plot and character.
What possibilities exist here? What is presenting itself to me IN THIS MOMENT that I can use? In a very real sense, it's meditation in motion, the practical application of an esoteric practice. And it relies on the acceptance of serendipity. Serendipity, the effect of accidentally discovering something fortunate
Sometimes people will approach me on the street and ask me very personal questions about my dating life. Fans talk to me like they know me, and it's like, 'You don't know me. You know my character, but you really don't know me.'
I've always said, just go ask my teammates if you want to know about me. Go ask the guys that I've played with. Don't ask or get information about me from people who are not in the locker room or not around me all of the time. Then you'll get legit answers.
Let what offends God offend me, and what God pardons, I pardon.
I've always thought if you don't like what somebody says, don't hang out with that person. Why do you have to complain about it? Here's the thing. I don't hang out with, and I'm not friends with anybody that would offend me or I think offends me or lives a different way than I do.
When I talk about intersex, people ask me, 'But what about the locker room?' Yes, what about the locker room? If so many people feel trepidation around it, why don't we fix the locker room? There are ways to signal to children that they are not the problem, and normalization technologies are not the way.
The story of 'A Dog's Purpose' flowed into me a set piece. The entire book was just there, as if I were connected to a streaming service, a novel wholly formed of character and plot. This has never happened to me before or since. I prayed for help and I got it. A gift.
I don't really approach a character as to whether or not it's good or bad. I just approach a character as to where it lives in me.
I detest the word plot. I never, never think of plot. I think only and solely of character. Give me the characters; I'll tell you a story-maybe a thousand stories. The interaction between and among human beings is the only story worth telling.
But for me it's loads of pressure. Like, my mum is a strong independent woman, but obviously she relies on me a little bit. My little brother has his own job but he relies on me.
A novel can be set in motion by an incident, a character, a location, a mood - by anything at all. Sometimes the stimulus can be an idea, which will rapidly clothe itself in character and incident. 'Foreign Bodies' came about through the contemplation of the contrast between post-second world war America and Europe.
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