A Quote by Puneet Issar
In the heady days that followed the success of 'Mahabharat,' I was young, vain and didn't care much about the story. But in the next two decades, I read a lot on the epic.
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In 2017 I started writing 'Mahabharat An Epic Tale' and it took me two years to write it and prepare the production with Rahul Bhuchar of Felicity theatre, and we launched it on the 17th of Nov 2018 and it was a super success.
'The Sword of Shannara' is about two brothers who find themselves on an epic quest to save humanity. It borrows from 'Lord of the Rings' but is still original in its own right. I read it in three days, then reread it, then went out and found every single book Terry Brooks ever wrote, and read all those.
I had read the 'Mahabharat' thoroughly even before meeting B. R. Chopra Sir. I knew the most important character was Duryodhan. Without him the 'Mahabharat' would not have happened. I straight away went and asked for that character itself.
I'm struggling with what is epic. People decided I was epic - if by epic, do you mean a big, heavy book? 'David Copperfield' is a big book - is it epic? Amount of time covered, length, drama, or story - that's the real appeal - if the story is long you have a better chance of becoming more connected.
I think Trump wanted to use his 2016 campaign to basically say to a lot of folks that liberals hate you. And we have to show a bolder economic plan than we have before, one, I think, that needs to be focused on jobs, that communicates to those voters that we do care, that we care as much about their success as any other success, anyone else's success.
Dad and I did not care at all for your story in The New Yorker … [I]t does seem, dear, that this gloomy kind of story is what all you young people think about these days. Why don't you write something to cheer people up?
Say you have a headline like "Mountain Bike Stolen," and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections - not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth.
I know that from the days of Watergate... the notion of two sources on a story has become the popular dogma about how you confirm something. And there is a lot of truth to that, but there are all kinds of ways to check to the extent that you can, a story that you get.
I care a lot about privacy. I also care an awful lot about public safety. There continues to be a huge collision between those two things we care about.
I didn't even know a heart could beat so loudly...it reminds me of an Edgar Allen Poe story we had to read in one of our...classes...it's supposed to be a story about guilt and the dangers of civil disobedience, but when I first read it I thought it seemed kind of lame and melodramatic. Now I get it, though. Poe must have snuck out a lot when he was young.
The next moment is as much beyond our grasp, and as much in God's care, as that a hundred years away. Care for the next minute is as foolish as care for a day in the next thousand years. In neither can we do anything, in both God is doing everything.
I wasn't thinking about my pension plan until about two years ago. When I was in my twenties, the idea that you'd be thinking of taking a job based on its health-care policy was completely foreign. But these days young people are thinking about these things.
When I was quite young I came across a collection of [Franz] Kafka stories and read "The Judgment." I was just floored by that story. I couldn't understand it. I still don't. I'm talking about something I read more than 50 years ago. That story left a little scar on me.
In junior high I read a lot of Stephen King, whose Americana approach to writing was often about "the terror next door" and at the same time I was reading a lot of Clive Barker, who was on the other end of the horror pendulum: insidious and disturbingly psychological. I found it fascinating how these two authors came at horror from two totally different perspectives.
One day, I was running to the river. Along the way there was the most exquisite butterfly, a tiny little thing, on the pavement. I kind of jumped over it. And then two days later I woke up in the middle of the night with a character running, jumping over butterflies on the streets of Nairobi. After that, I followed the story. The story wrote itself.
I care about being formally physically attractive in my life, and I think that I am quite vain about my performance. I'm just not vain about how I look while I give the performance.
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