A Quote by Michael Hirst
I've found that using historical material and being rooted in historical material is liberating because I always think to myself, 'Well, this actually happened, and this is fantastic!' That's why I don't like fantasy, in a way. Because it's sort of in emptiness.
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For film, I think because it's more detailed, and especially with historical material, you really have to find the right projects. Speaking as a mixed-race woman, there aren't many historical stories about people like me. When people think of 'dual heritage,' they think it's a modern concept, but really it's not.
My obsessions stay the same - historical memory and historical erasure. I am particularly interested in the Americas and how a history that is rooted in colonialism, the language and iconography of empire, disenfranchisement, the enslavement of peoples, and the way that people were sectioned off because of blood.
There is great freedom in simplicity of living, and after I began to feel this, I found harmony in my life between inner and outer well-being. There is a great deal to be said about such harmony, not only for an individual life but also for the life of a society. It's because as a world we have gotten ourselves so far out of harmony, so way off on the material side, that when we discover something like nuclear energy we are still capable of putting it into a bomb and using it to kill people! This is because our inner well-being lags so far behind our outer well-being.
One of the great things about history is that it sort of isn't a done deal - ever. The historical texts and the historical evidence that you use is always somehow giving you different answers because you're asking it different questions.
Later, I went one step further, by putting in some invented "historical" bits [into the Lincoln in the Bardo]. And reading those alongside the actual historical bits was like looking into a sort of a painful mirror, because "my" parts were so show-offy at first. They stood out because they were so flamboyant.
The key for me with historical characters is they're interesting because they're human beings. A little bit of Hemingway goes a long way here, but journalists and writers should honestly look at their material and have a real interest, a real passion in what they want to write, and they should also have a lot of knowledge as well.
I like going back in time and writing historical fantasy. I use some real historical characters as a background to give depth to the fantasy. And I throw my fictional characters into the midst of this, and, so far, it has turned out interesting.
I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
I find it exciting to get any historical material from the ground. As you know, I love to put ancient Israel and its literature into their ancient contexts. And to rebuild - that is, to me, a very exciting historical task.
The material which a scientist actually has at his disposal, his laws, his experimental results, his mathematical techniques, his epistemological prejudices, his attitude towards the absurd consequences of the theories which he accepts, is indeterminate in many ways, ambiguous, and never fully separated from the historical background . This material is always contaminated by principles which he does not know and which, if known, would be extremely hard to test.
I found that the quality of TV material that came to me was so great and was just often better than the film material I got. And when I find a good movie that I really like, I jump on it because it's exciting to do.
In the same way that I've no desire to live in earlier historical periods, I never touch historical recipes. Most historical cooking is detestable.
I think that technology is always invented for historical reasons, to solve a historical problem. But they very soon reveal themselves to be capable of doing things that aren't historical that nobody had ever thought of doing before.
I don't want to be a historical action figure or treated like I'm dead. Like one of those people where they go, 'Oh, isn't she dead?' And then I walk up, and they're like, 'Whoa.' I can't really complain... because I've made myself into a historical action figure. I was like, 'Yeah, come on in!'
Western civilization presents one of the most difficult tasks for historical analysis, because it is not yet finished, because we are a part of it and lack perspective, and because it presents considerable variation from our pattern of historical change.
It's always this grand search in the industry to find good material. Whenever there is good material, they all jump on it, and it's like a food fight to get it made. That's why so many things take years and years to develop because it all shows up on screen.
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