A Quote by Robert Crais

I have these huge black foam boards on the wall, and tacked to them, I have these white punch cards with my story ideas, scenes and notes. — © Robert Crais
I have these huge black foam boards on the wall, and tacked to them, I have these white punch cards with my story ideas, scenes and notes.
Look at the piano. You'll notice that there are white notes and black notes. Figure out the difference between them and you'll be able to make whatever kind of music you want.
We must begin to tell black women's stories because, without them, we cannot tell the story of black men, white men, white women, or anyone else in this country. The story of black women is critical because those who don't know their history are doomed to repeat it.
We had this terrible thing, this awful thing with 'Black and White' happened, where the design of 'Black and White' was actually... was hijacked by the fan sites. Because what happened is, there were so many fan sites on 'Black and White,' the hype on 'Black and White' was just ridiculously huge. It was completely out of our control.
For notes related to books I'm writing, I've wondered whether I should organize my notes better, but I do find that the action or scrolling through them and seeing odd juxtapositions of ideas helps to stimulate my own ideas and creativity. I worry that if I kept the notes in a highly-structured way, I might lose some of these benefits.
Everything does come from nature. That's where you get new ideas. Just draw the landscape. I felt doing it with a bit of burnt wood was also good because I was drawing burnt wood with a piece of wood. I wanted to do black and white. After using color, I thought black and white would be good. You can have color in black and white. There is color in them, actually.
I'd like to be played as a child by Natalie Wood. I'd have some romantic scenes as Audrey Hepburn and have gritty black-and-white scenes as Patricia Neal.
I look at comic books, and I do very eclectic mood boards with ideas and images that have to do with a character or story point. It's a bit like spinning plates. You gradually just steal your ideas.
You find [reverberations from 9/11 ] in them most unexpected places, like graffiti on a wall. Sometimes it's a faded picture; sometimes it's a newspaper tacked to a wall. Sometimes it's weird paraphernalia related to it, home constructed paraphernalia. It resonates through society and continues to resonate today.
I do try to plot about a chapter ahead once I get going. I have a list of upcoming scenes with little notes about them. But sometimes the story changes and I don't end up following that.
Did you know that the human voice is the only pure instrument? That it has notes no other instrument has? It's like being between the keys of a piano. The notes are there, you can sing them, but they can't be found on any instrument. That's like me. I live in between this. I live in both worlds, the black and white world.
It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.
I've never seen a sincere white man, not when it comes to helping black people. Usually things like this are done by white people to benefit themselves. The white man's primary interest is not to elevate the thinking of black people, or to waken black people, or white people either. The white man is interested in the black man only to the extent that the black man is of use to him. The white man's interest is to make money, to exploit.
In places like Germany or France the idea of black-white is not so much black-white but "our people and them," and "them" can be people from the near east like Turks or Muslims or North Africans, all of whom might well be considered white in the United States.
I was sentenced to life plus 30 years by an all-White jury. What I saw in prison was wall-to-wall Black flesh in chains. Women caged in cells. But we're the terrorists. It just doesn't make sense.
The way 'Lux' was made is that there are 12 sections in here, though two of them are joined together. So there are really 11 sections, in a sense, and each one uses five notes out of a palette of seven notes, and my palette is all the white notes on the piano. That was the original palette.
The natural response of the old-timers is to build a strong moral wall against the outside. This is where the world starts to be painted in black and white, saints inside, and sinners outside the wall.
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