A Quote by Jude Law
When you got source material, whether it's a play or a book - a great writer often appreciates being adapted and developed. It's like when you go see a production of a great play and they are always different. There is always room for interpretation.
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You can compare Holmes and Watson to great Shakespearean characters, in a way. They've been played by hundreds of actors over the years, and each one is a different interpretation - the source material can take that form of interpretation.
See, if you put a musician in a place where he has to do something different from what he does all the time, then he can do that - but he's got to think differently in order to do it. He's got to play above what he knows - far above it. I've always told the musicians in my band to play what they know and then play above that. Because then anything can happen, and that's where great art and music happens.
You know, that's one great thing about the sport we play is you know, whether it's here, whether it's anywhere else we play or whether it's around the world. A lot of the fans, they respect great golf and they want to see great golf.
I've always had great satisfaction out of writing the plays. I've not always had great satisfaction out of seeing them produced-although often I've had satisfaction there. When things go well in production, on opening there's no nicer feeling in the world-what could be nicer than watching an audience respond? You can't that from a book. It's a fine feeling to walk into the theater and see living people respond to something you've done.
Most of the books that I've adapted I'm doing because I love the book and I feel like it's a great work of art in itself, and when it's a great book I feel as a director or a writer that I have a responsibility to rise to the level of the original. It makes me try to reach higher.
What I'm always afraid of is going "off-book,I always get upset when the director leaves the classic comic that was so very popular. I argued, and I won't say with who about what, but when we go way away from the original source material... that material is popular for a reason and I like to stick with it.
I think my background in film taught me that a great book adaptation is not always slavishly faithful to the source material.
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
You've always got 20 per cent of a dressing room that won't be happy with their manager because they want to play more often. There are players who will have been moaning all year about not being in the team, but when they got their chance they failed to take it.
I'm a total theater junkie - whether I'm working on a stage or sitting in a seat. I am always looking for a great play and a great part to do.
I always like to play with my kids. I always have the time to do that. That's my priority, always has been, so just interacting with my kids, and being with them is great.
In foreign affairs we must make up our minds that whether we wish it or not, we are a great people and must play a great part in the world. It is not open to us to choose whether we will play that great part or not.
What Metallica always tries to do, as we go around and play a lot of the same cities, over and over again, year after year, is to give a different experience. We try to never play the same venues, or if we play indoors, we'll play outdoors, and all that type of stuff. It's always about just trying to do a different kind of experience.
I think a lot of the production process is always giving yourself, like what I call like escape routes, like, if this scene doesn't play, if we realize we've had too many dirty scenes in a row, and it's like, because you don't have the luxury when you're in the middle of shooting, to see how these scenes play all in a row, kind of, you know what I mean. So, like we're always trying to like have insurance policies on, ok, if that doesn't work, we can just jump to this thing.
The film world is always looking for great source material, and Broadway has traditionally and historically been a place to go.
A man can write one book that can be great, but this doesn't make him a great writer-just the writer of a great book. . . I think a writer has to extend very widely, as well as plunge very deep, to be a great novelist.
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