A Quote by Leigh Bardugo

Publishing and film are such different worlds for writers. — © Leigh Bardugo
Publishing and film are such different worlds for writers.
I look for roles that allow me to immerse in different worlds, immerse in worlds that are different from mine. Then, when you finish a film, you're a different person. I look for that. I look to be impacted, to be transformed, changed by my roles. That's why I do this.
There are different worlds, endless worlds, and different beings come from different worlds. In my particular case, I come from the stillness. We call it the dharmakaya, the clear light of reality. I know it quite well.
There are parallels between the music and film worlds, but they're really very different. I feel like they're just two different ways to channel my creativity.
What writers of fantasy, science fiction, and much historical fiction do for a living is different from what writers of so-called literary or other kinds of fiction do. The name of the game in F/SF/HF is creating fictional worlds and then telling particular stories set in those worlds. If you're doing it right, then the reader, coming to the end of the story, will say, "Hey, wait a minute, there are so many other stories that could be told in this universe!" And that's how we get the sprawling, coherent fictional universes that fandom is all about.
The muscles that writers need for film are very different from TV muscles. Now, when I hire the writers and put the writers' room together, I know where their muscles need to be.
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
There is an enormous shadow industry of scammers and amateurs who prey on aspiring writers, who divert people from the real publishing industry into this shadow world of vanity publishing and fee-charging agents.
No two languages are ever sufficiently similar to be considered as representing the same social reality. The worlds in which different societies live are distinct worlds, not merely the same world with different labels attached.
All my movies are about strange worlds that you can't go into unless you build them and film them. That's what's so important about film to me. I just like going into strange worlds.
There are people who have never studied writing who are capable of being writers. I know this because I am an example. I was a part-time registered nurse, a wife, and a mother when I began publishing. I'd taken no classes, had no experience, no knowledge of the publishing world, no agent, no contacts ... Take the risk to let all that is in you, out. Escape into the open.
When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film.
All I can say is that I am not one of those writers who want 100% of their book in the film. I recognize that film is a different medium and the filmmaker must have the right to bring some new elements to the table, provided the soul of the book is preserved.
I just feel like TV takes more risks than film. Film has gotten very safe: it's very compartmentalized about what type of things will be successful. And whereas in TV, since all these new platforms opened, they're saying to writers, go out there, write the most different show that you can write. Write something that's really original and different.
Most writers have no idea how to make a film. It's a totally different skill set. Nor is it just to translate exactly what's on the page directly on to the screen - because that would be terrible. It would be five hours long, and the structure would be a mess. But the writers know the characters and the story.
I just feel that the East and the West are two different worlds. I sometimes get saddened when I see that very few writers of color are published or reviewed in East Coast presses and magazines.
I mean, first, almost all writers these days teach because they don't make enough money publishing to live on, to support themselves - people like Tobias Wolff, Anne Beattie, Amy Hempel, Stuart Dybek; a lot of short story writers, for one thing.
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