A Quote by N. K. Jemisin
To some degree, as I move outside of the exclusive genre audience, the exclusive genre issues don't bother me as much. Maybe that's just speculation.
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I had a lot of issues with the genre, and I probably even had issues with the whole idea of genre. I was coming into it with a certain degree of outsider attitude, and I didn't have a long-term plan. But I think the way it's worked out, it's sort of warped into what I suppose you could say is my own genre. If people like my books, they have some idea of what the next one will be like.
There's something about the sci-fi genre that gets an audience interested in it, so maybe you can take some risks that you couldn't, if you were just doing a drama. It lets you maybe reach a little further and surprise people a little bit more because there's still that little safety base of working on that genre that everybody loves.
I grew up reading genre writers, and to the degree that Eric Ambler and Graham Greene are genre writers, I'm a genre writer.
Genre is a really great shorthand you can have with an audience. In the same way you can use music to create a connection with an audience, it brings so much of their knowledge of what genre really is to the table. You have a shortcut to connect with them. I really like that.
I do love science fiction, but it's not really a genre unto itself; it always seems to merge with another genre. With the few movies I've done, I've ended up playing with genre in some way or another, so any genre that's made to mix with others is like candy to me. It allows you to use big, mythic situations to talk about ordinary things.
I did not fix any genre for 'AK.' We just write a story and audience will put it in a genre as they perceive it.
To me, fantasy has always been the genre of escape, science fiction the genre of ideas. So if you can escape and have a little idea as well, maybe you have some kind of a cross-breed between the two.
The funny thing about me is I move from genre to genre, but I essentially shoot all the movies the same way.
Nothing finite is true, is interesting, is worthy to fix my attention. All that is particular is exclusive, and all that is exclusive repels me.
That's what governors do, they wrestle with the issues, they find solutions and they move the agenda forward. At the appropriate time we'll talk about all of these issues, while remembering that our party is a big tent party. We lose when we try to become exclusive to one particular set of issues.
Australian genre films were a lot of fun because they were legitimate genre movies. They were real genre films, and they dealt, in a way like the Italians did, with the excess of genre, and that has been an influence on me.
The beauty of the horror genre is that you can smuggle in these harder stories, and the genre comes with certain demands, but mostly you need to find the catharsis in whatever story you're telling. What may be seen as a deterrent for audiences in one genre suddenly becomes a virtue in another genre.
If I'm a genre writer, I'm at the edge. In the end, they do work like genre fiction. You have a hero, there's a love interest, there's always a chase, there's fighting of some kind. You don't have to do that in a novel. But you do in a genre novel.
It is a strange fact that freedom and equality, the two basic ideas of democracy, are to some extent contradictory. Logically considered, freedom and equality are mutually exclusive, just as society and the individual are mutually exclusive.
At the start of the process the idea is just a thought - very fragile and exclusive. When the first physical manifestation is created everything changes. It is no longer exclusive, now it involves a lot of people.
The thing that makes a great genre movie is one that's not just entertainment, not just horror or sci-fi or whatever. The ones I love are the genre pictures with some subversive message underlying it all.
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