A Quote by Julie Plec
I always say, "Never give your lead character an infant. Make them a recovering alcoholic, or the victim of a horrible violent crime because you can really never truly recover from that." It's a story pitfall.
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I can't become naked for everybody. It's never going to be possible for the person to write the whole story completely, so I find bits of myself, bits of what I think in some articles. And I don't give lip service to journalists. I never make them feel comfortable. I say, "It's your job to make the story."
It is never too late, no matter how old you get because anytime or any point in your life you can always have a chance to make a difference. You can always make a change for the better no matter what background you derived from. You can always do your best and be all that you can be because you will always be uniquely you. It is why it is always wise to listen to your eternal heart, your eternal instincts, and what it had always strove for and/or to do because really anybody can make a difference not only in their own lives but in the lives of others. It is never too late to shine; never.
That's always my ambition is to create a character out of what will help tell the story. I've never been an actor to say my character wouldn't do that, because he should do that in order to help tell the story.
So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.
You really never know where your path will lead you, but working with technology was truly the best way I could make a difference.
And there are never really endings, happy or otherwise. Things keep going on, they overlap and blur, your story is part of your sister's story is part of many other stories, and there is no telling where any of them may lead.
I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.
There's sometimes a weird benefit to having an alcoholic, violent father. He really motivated me in that I never wanted to be anything like him.
A lot of people think that they are really cool because they don't outline. In my writing group, they would say, "I will never outline. I let the characters take me." C'mon, man - I outline the story, but it's only like one page. It's a list of possible reversals in the story, like things where everything will just change because of this certain reveal or this certain action. Then I start really digging into the character because, to me, I don't care what the story is.
One must never assume that a character is sympathetic because of either the actor playing them or the fact that they're a lead. I think that's a recipe for failure, actually, because if they become unsympathetic, you lose your audience.
I never try to give a message in my books. It's about living with characters long enough to hear their voices and let them tell me the story. Sometimes I would love to have a happy ending, and it doesn't happen because the character or the story leads me in another direction.
Murder is the unique crime, the only one for which we can never make reparation to the victim.
It begins with the kind of story the writers want to tell. We never sit around in those retreats and say, 'We really need to make a change. Let's change this character.' Or throw a dart at the wall and see what hits. It all begins with story.
My father will never say no to a character, as I never go to him and talk about a character for which he won't give the nod.
On paper, I refuse to position myself as a victim and say, 'Oh, see, this is hard for me, and I'm never going to get any work because they're never gonna look for a half-French, half-Cambodian girl.' I've always said, 'Carry on and work on your job, and at some point, it'll come.'
I work in an old tradition that goes back to the ancient Greeks. You hold a mirror to crime to see what's happening in society. I could never write a crime story just for the sake of it, because I always want to talk about certain things in society.
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