A Quote by Khaled Hosseini

Fabio Celon did send me pages as he progressed, both in black and white and some color samples as well. It was really exciting to see the sketches and to see the story [The Kite Runner] shaping up visually.
The images [of The Kite Runner grafic] were created in Fabio Celoni's mind. I chose to let him take the lead. Fabio and I did exchange an e-mail or two, but it was my intention to step out of the way and let his artistic instincts take over.
I believe Fabio Celoni's work vividly brings to life not only the mountains, the bazaars, the city of Kabul and its kite-dotted skies, but also the many struggles, conflicts, and emotional highs and lows of Amir's journey [from the The Kite Runner].
Simon's walls were covered in what looked like pages ripped from a comic book, but when I squinted, I realized they were hand drawn. Some were black-and-white, but most were in full color, everything from character sketches to splash panels to full pages, done in a style that wasn't quite manga, wasn't quite comic book.
Only in black and white can I see the design and textures. I don't consider color photography art. Black and white is an interpretation. Color is a duplication.
In March of 2001, I revisited the short story, and found that thought it did not work well as a short story, it might work much better as a longer one. The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.
Yeah, I did see where the people dissing me were coming from. But, it's like, anything that happened in the past between black and white, I can't really speak on it, because I wasn't there. I don't feel like me being born the color I am makes me any less of a person.
The history of slavery in this country has affected not only how black people see themselves, but how white people see black people as well, and the roles they're meant to play... I'm aware of it, as a person of color.
People go to see a film because it's a great story and it's visually exciting to watch.
At first, all is black and white. Black on white. That's where I'm walking, through pages. These pages. Sometimes it gets so that I have one foot in the pages and the words, and the other in what they speak of.
It seems that our politicians see the world in black and white, so why not our artists? Did Woody Allen's 'Manhattan' have to be in black and white? No. But is it fantastic that it was? To see New York like that? Yes!
I see love in black and white. Passion in shades of “gris”. But when it comes to you and I, color is all I see.
I also felt The Kite Runner was a story that would lend itself well to a visual retelling in a graphic novel.
In early 1999, I was watching TV, when I came across a story on Afghanistan. It was a story about the Taliban and the restrictions they were imposing on the Afghan people, most notably women. At some point in the story, there was a casual reference to them having banned the game of kite fighting. This detail struck a personal chord with me, as I had grown up in Kabul flying kite with my friends.
Guys like Spielberg and Zemeckis and really anybody who is a storyteller-filmmaker today has studied Hitchcock and the way he visually tells a story. He was the master of suspense, certainly, but visually you would get a lot of information from what he would do with the camera and what he would allow you to see as the story was unfolding.
Writing is a black-box proposition. You see actors; you can see what they're doing. You can watch the director on set doing his work. But when a studio says to a writer, 'Give us some pages,' he just goes off and comes back. It's just pages, and suddenly, there's some writing on them.
The more disgruntled the white people are, the happier they are to see me, that has to be it. I do really well in Boston, I do really well in Cleveland, I do really well in Philly, Jersey, certain parts of Florida. Places where there are really really aggressive white people tend to love me.
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