A Quote by Nicole Krauss
I have always written about characters who fall somewhere in the spectrum between solitary and totally alienated.
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I believe gender is a spectrum, and I fall somewhere between Channing Tatum and Winnie the Pooh.
I like playing complex, interesting characters. Sometimes I don't think there's much of a strong line between right and wrong for a character. Every character is somewhere on a moral spectrum.
Somewhere between psychotic and iconic/ Somewhere between I want it and I got it/ Somewhere between I’m sober and I’m lifted/ Somewhere between a mistress and commitment
If you go all the way back, I've always written science-fiction, I've always written fantasy, I've always written horror stories and monster stories, right from the beginning of my career. I've always moved back and forth between the genres. I don't really recognise that there's a significant difference between them in some senses.
Grey characters don't only mean broody characters. A totally smitten lover boy can be equally grey if written that way.
I have something to say about the difference between American and European cities, but I forgot what it was. I have it written down at home somewhere.
Another strand of my writing is the importance of the idea. If you think about fiction writing as a spectrum, where at one end of the spectrum in the infrared, are the story tellers, and the people for whom creation of wonderful characters and telling a good story is the most important thing.
It's hard because I think I fall into this in-between space where there's something that's innately feminine about me, and there's also something that's kind of androgynous. I carry myself somewhere in between, and I think my music lends itself to that as well.
Before you start production, you have characters you have created without actors in mind, then all of a sudden you've got actors. They bring an enormous amount in creating these characters, and creating the dynamics between the characters that you've written.
Within the world of TV land, into which American life has been reduced as well as reproduced, the phenomenon of the talk show has emerged as a genre located somewhere on the spectrum between coffee klatch and town meeting, or perhaps between the psychiatrist's couch and the crowd scene at a bad accident.
The wild bird that flies so lone and far has somewhere its nest and brood. A little fluttering heart of love impels its wings, and points its course. There is nothing so solitary as a solitary man.
My pantry pastas fall somewhere in the middle of the time spectrum. They're simple, streamlined, and flexible, with unfussy yet massively flavorful sauces that come together in the time it takes to boil water and cook pasta.
Solitary confinement has been used extensively, it always has. I was in prison for 44 years; it was a normal part of life - the practice of it. They put you in solitary confinement for disciplinary reasons, they put you in solitary confinement to protect you from violence or whatever, and they also put you in solitary confinement just to show you who has got the power ... It's not something new; it's just something that nobody really cared about in the past.
Women are always murdered and maimed, and they’re never given their rightful place as lead characters! And I think [creator Michael Hirst] has just written what should have been written a long time ago. There shouldn’t be anything that different about Vikings, but there is, because there’ve just been so many shows that have not stepped up to the plate and given female actors and female characters equal footing.
When you stop to think about it, so many films today where we don't have that kind of contact are films about alienation. About alienated feelings. We are much more alienated from our colleagues nowadays.
I write my films with Reema Kagti, and I think all the characters that I have written, somewhere or the other, reflect my thoughts, ideology and morality.
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