A Quote by Laura Amy Schlitz

Novels taught me that history is dramatic. I wanted my students to know that, too. — © Laura Amy Schlitz
Novels taught me that history is dramatic. I wanted my students to know that, too.
I didn't want to make Young and Beautiful as very dramatic movie . In a certain way, I wanted to do a girly film. I wanted to make something sweet, pink. With a boy it was too dramatic and too heavy. I had a lot of pleasure with the boys in In the House, I said, "This time I will do a film with girls."
I like dialogue in novels. I wanted to avoid laying history on with a trowel - appearing to be lecturing, as opposed to the characters lecturing their children or students. Dialogue can humanise the story and make it go down somewhat more smoothly.
I set up this magazine called Student when I was 16, and I didn't do it to make money - I did it because I wanted to edit a magazine. There wasn't a national magazine run by students, for students. I didn't like the way I was being taught at school. I didn't like what was going on in the world, and I wanted to put it right.
Movies and novels, the two things that informed and taught me the most, are forms of escapism. I thought that was how life could look if you wanted it to.
Liberia is not at the center of a massive geopolitical game. Afghanistan is and has always been. The history is dramatic, the politics are dramatic, the landscape is incredibly dramatic.
I've learned to accept the fact that my students are far too busy preparing for their own legal careers to care one bit about the off-campus antics of Professor Burke. I get the impression that my students are vaguely aware of my novels, but are at best mildly curious.
Human history has become too much a matter of dogma taught by 'professionals' in ivory towers as though it's all fact. Actually, much of human history is up for grabs. The further back you go, the more that the history that's taught in the schools and universities begins to look like some kind of faerie story.
Punjab history is hardly taught to students in schools.
Of course, all students should learn African history, as they should learn the history of other continents and major civilizations. But this history should be taught accurately and based on the best scholarship, not ideology or politics.
I have taught students from the New York City area so long I have a special affinity and rapport with them. It surprises me sometimes that there are students from anywhere else.
I really wanted to do some serious work. I really wanted to be a part of dramatic films. I wanted to show this talent, whatever that means, that I could be a dramatic actress as well. But the truth is, a) I don't know if I can, and b) I love doing comedy, and I felt almost a little embarrassed that I succumbed to the pressure. Vanity is really what it is. I feel really grateful that I am in comedy, and I love doing it.
I had a teacher/director at the Royal Academy of Dramatic Art, where I trained for a year, named Mary Duff, who taught me practically everything I know.
Whenever I felt down, whenever I started wondering what homeless shelter I would die in, [my mother] would buck me up by telling me: you know, Paul, the A students work for the B students, the C students run the companies, and the D students dedicate the buildings.
The whole point here, and the seed that JJ Abrams laid in my mind is, is the power of curiosity enough? What happens next? That dramatic construct is what has driven soap operas and serialised novels over the course of history.
When I first started my acting career, I only knew what my acting teacher taught me. When a director gave me an impromptu direction, I didn't know what he wanted me to do, and I wanted to escape from the place.
I had wanted to write English crime novels based on the American hard-boiled style, and for the first two novels about Brixton, the critics didn't actually know I was Irish.
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