A Quote by Nicolle Wallace

I was very much inspired by the things that I'd seen and done in politics, but I was also desperate for a complete departure from the reality of my political experience. 'It's Classified' and my previous book 'Eighteen Acres' are both works of fiction, but if they do seem realistic, it's by design.
The Israel stories were really hard for me to write, because I think that my book is very much about politics, but it isn't political. It really was important for me to not have a political agenda at all, because I have a hard time stomaching any political fiction that feels message-y.
When you're dealing with a symbol in a realistic play, it is also a realistic fact. You must expect the audience's mind to work on both levels, symbolically and realistically. But we're trained so much in pure, realistic theater that it's difficult for us to handle things on two levels at the same time.
When you sit down to design something, it can be anything, a car, a toaster, a house, a tall building or a shoe, what you draw or what you design is really a culmination of everything that you've seen and done in your life previous to that point.
This fact was something I also learned from this first novel that I needed personal experience to invent, to fantasize, to create fiction, but at the same time I needed some distance, some perspective on this experience in order to feel free enough to manipulate it and to transform it into fiction. If the experience is very close, I feel inhibited. I have never been able to write fiction about something that has happened to me recently. If the closeness of the real reality, of living reality, is to have a persuasive effect on my imagination, I need a distance, a distance in time and in space.
All of business and all of politics is essentially fiction to those who live them. I have more experience with fiction than most senators because I do it all day, so their world didn't seem that foreign to me.
The entertainment industry has three kinds of politics - sexual politics, money politics and power politics. A desperate actor can become victim of any of these political games.
I don't write science fiction. I've only done one science fiction book and that's Fahrenheit 451, based on reality. Science fiction is a depiction of the real. Fantasy is a depiction of the unreal.
The Anarchists' uncompromising rejection of the State, the subject of Marxian sneers for its "absolutist" and "Utopian" character, makes much better sense in the present era than the Marxist relativist and historical approach. The pacifists also seem to be more realistic than the Marxist both in their understanding of modern war and also in their attempts to do something about it.
I write some art criticism, and one thing that's clear to me is that politics is fashionable in the American art world in a way it maybe isn't in American fiction. Your work of art becomes fashionable the moment it has some kind of political commentary. I think this has its dangers - the equation between fashion, politics, and art is problematic for obvious reasons. Nonetheless, the notion of politics as being de rigueur in the world of fiction is almost unthinkable. In fiction in America at the moment, the escape into whimsy is far more prevalent than the political.
We have always thought about design as being so much more than just the way something looks. It's the whole thing: the way something works on so many different levels. Ultimately, of course, design defines so much of our experience.
Very little in science fiction can transcend the gimmickry of a technical conceit, yet without that conceit at its heart a book is not truly science fiction. Furthermore, so little emerging thought and technology is employed by sf writers today that the genre is lagging far behind reality both in the cosmology area and the technology area: sf is no longer a place to experiment, but is now very derivative.
Originality is also very important to a writer. And all of the writers I've mentioned, of course, are original, but it's important to me that every book that I do be really a completely fresh and new look at the world. And of course, that makes it frightening to start a new book because you can't really depend upon what you've done with previous books.
While I was at college studying design I decided to paint. I was also greatly inspired by the colours that I had seen on my travels in the Brazilian Rain forest.
Reality television has borrowed so much from the world of politics, whether it's alliances or voting or the kind of strategizing that's done. Anything like that came from politics well before it came from reality television.
Being realistic is the most commonly traveled road to mediocrity. Why would you be realistic? What's the point of being realistic? I'm going to do it. It's done. It's already done. The second I decide it's done, it's already done.
I very much believe in things unseen, both of positive and destructive energy, and I have never seen The Exorcist through from start to finish. I find it too realistic, frankly, and too disturbing for me. I absolutely believe in spiritual warfare and have experienced it in my life. So I respect Mr. Friedkin's extraordinary success with that, but it's not a picture I'll ever see.
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