A Quote by Mark Billingham
Ian Rankin's Rebus is the king of modern British crime fiction. He is dour, determined, and constantly falls foul of his seniors. For all this, we root for him. He is eminently loveable, a quixotic hero moving through the darker half of a Jekyll and Hyde Edinburgh.
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In Robert Louis Stevenson's 'Jekyll & Hyde,' the hero decides on the terms of his transformation in a process that's explained not through the supernatural but the natural or, at least, through biochemistry.
The Bully has a Jekyll and Hyde nature - is vile, vicious and vindictive in private, but innocent and charming in front of witnesses; no-one can (or wants to) believe this individual has a vindictive nature - only the current target of the serial bully's aggression sees both sides; whilst the Jekyll side is described as "charming" and convincing enough to deceive personnel, management and a tribunal, the Hyde side is frequently described as "evil"; Hyde is the real person, Jekyll is an act.
Robert Rotenberg does for Toronto what Ian Rankin does for Edinburgh.
I used to be very much Jekyll-and-Hyde, where the Jekyll in me would say, 'Keep to the budget, be responsible,' and Hyde would be like ,'Ah, we can do an extra shot or an extra day.'
Jekyll and Hyde, in particular, is such an important novel in terms of suspense and setting a perfect scene for crime
In crime, I like Ian Rankin and James Lee Burke. As for historical books, I enjoy Bernard Cornwell, Patrick O'Brien, and C. S. Forester - anything with battleships!
One of the things that I really enjoyed playing with Ender was how he's constantly struggling between his brother and his sister. It's like he's got two sides to him. And I've always wanted to play a darker character, and in this film and in the novel, Ender has his moments where he isn't a glorified hero.
I'm a big fan of Elmore Leonard, and I've read Ian Rankin, Christopher Brookmyre and so on. But I'd never read a crime novel that made me feel emotional at the end.
One of the reasons I got into musical theater was Anthony Warlow. I was obsessed with the 'Jekyll and Hyde' concept album because of him.
At that moment his soul is fuller of the tomb and him who lies there than of the altar and Him of whom it speaks. Such stages have to be gone through, I believe, by all young and brave souls, who must win their way through hero-worship to the worship of Him who is the King and Lord of heroes.
I once did an event with Ian Rankin where he said he didn't really need to do much background research because his books are set in the present, and I just thought: 'You lucky, lucky beast!' because as a historical novelist, I live constantly on the edge of wondering whether tissues had been invented.
I wrote 'Knots and Crosses,' the first of the Rebus books, not even realising that I was writing crime fiction.
Well being in Kiss is having a more limited spectrum. It's a smaller playground to play in because there are limitations. I'm the big bad wolf and I'm supposed to do this and that. There are rules, which are self imposed I must say, but there are rules. We break enough of them, but the truth is that being Gene Simmons in an album called 'Asshole' forged me the opportunity of just recreating myself. Very much Jekyll and Hyde. Mr. Hyde is the big bad guy and Dr. Jekyll has studied and both are connected.
I just really like the verve and muscle of good crime fiction, the narrative punch of it. The underlying principle of good crime fiction is an insistence on a kind of root democracy. I've always responded to that notion.
There's a Mr. Hyde for every happy Jekyll face, a dark face on the other side of the mirror. The brain behind that face never heard of razors, prayers, or the logic of the universe. You turn the mirror sideways and see your face reflected with a sinister left-hand twist, half mad and half sane.
Your failure to enjoy a highly rated novel doesn't mean you're dim - you may find that Graham Greene is more to your taste, or Stephen Hawking or Iris Murdoch or Ian Rankin. Dickens, Stephen King, whoever.
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