A Quote by Paul Dini

I felt that, with 'Zatanna,' I had a chance to do a story about a strong, driven woman. — © Paul Dini
I felt that, with 'Zatanna,' I had a chance to do a story about a strong, driven woman.
I think God made a woman to be strong and not to be trampled under the feet of men. I've always felt this way because my mother was a very strong woman, without a husband.
'Push' had a story, 'The Paperboy' story you could just throw up in the air and shoot holes through the book because the story wasn't as strong. But I felt the characters were stronger in 'The Paperboy'; they were vivid.
You know, there's nothing damnable about being a strong woman. The world needs strong women. There are a lot of strong women you do not see who are guiding, helping, mothering strong men. They want to remain unseen. It's kind of nice to be able to play a strong woman who is seen.
A strong woman is a woman who craves love like oxygen or she turns blue choking. A strong woman is a woman who loves strongly and weeps strongly and is strongly terrified and has strong needs. A strong woman is strong in words, in action, in connection, in feeling; she is not strong as a stone but as a wolf suckling her young. Strength is not in her, but she enacts it as the wind fills a sail.
I always think first about the nature of the story. When I had the idea for 'The Namesake,' I felt that it had to be a novel - it couldn't work as a story.
But he always licked to get visitors alone in the billiard room and tell them stories about a mysterious lady, a foreign royalty, with whom he had driven about London. 'A devilish temper she had,' he would say. 'But she was a dem fine woman, sir, a dem fine woman.
I come from really strong women. My mum is really strong, so that's driven that into me, and my grandma was the strongest woman I've known in my life.
'Jersey' is a very strong story and is driven by emotions.
I wanted to tell the story of these women and the war in the Congo and I couldn't find anything about them in the newspapers or in the library, so I felt I had to get on a plane and go to Africa and find the story myself. I felt there was a complete absence in the media of their narrative. It's very different now, but when I went in 2004 that was definitely the case.
Raymond Carver had the quote that I loved about how he felt that a short story was the moment right before someone's life was about to fall apart. You can't really do that with a novel, but with a story you're just left hanging.
I have felt that there's a lot of receptiveness to female stories now. I think some of it has a little bit - a lot of it is economically driven and driven by, just, kind of studios wanting to check that box because now they know they have a woman problem that they need to solve.
The lifting up of the woman does not require the tearing down of the man. In fact, a strong woman appreciates a strong man. Conversely, a strong man is not intimidated by a strong woman.
A story once went the rounds of Israel to the effect that Ben-Gurion described me as 'the only man' in his cabinet. What amused me about is that he (or whoever invented the story) thought that this was the greatest compliment that could be paid to a woman. I very much doubt that any man would have been flattered if I had said about him that he was the only woman in the government!
I had long wanted to write a love story, and I had long - wisely, I felt - shirked the challenge because I felt it the hardest story of all to write.
I feel like my story would've been different had I had a chance to play with Bron when I was 18. I've thought about it countless times.
I had no intention of replacing Arnold [Schwarzenegger]. There were a few things that made me want to do the movie. They were the script which had a different direction to it, and it was a chance to do a very different Quaid. I didn't read the short story until I went to college.Reading the story had a different effect on me of how I pictured him to be and the tone of the story was different. In the story, he's a bit more of an everyman.
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