A Quote by Robin Furth

In order to capture Mid-World for new readers, I had to streamline the original tale [ The Gunslinger Born], but I also had to incorporate scenes from earlier Dark Tower novels.
I suppose that, for me at least, the biggest difference betweenThe Gunslinger Born and the next two story arcs (The Long Road Home and Treachery), is that while Gunslinger Bornwas a translation of an existing novel, the next two arcs are really the stories that I've been weaving since I first started working with Steve King on the Dark Tower back in 2000/2001.
I had no idea what to expect! When the series began, I was new to comics, so I really had to keep my head down and plow forward so that I could learn as much about this new medium as possible. I wanted so much to do a good job and to please Stephen King and all the longtime Dark Tower fans.
I love my sons and I love that they are writers - I also love my daughter, who's a minister and an orchard keeper! - but I wouldn't wish the burden of Mid-World and the Dark Tower on them. I enjoy working with them, though, because we fit together.
He had had a severe shock some weeks earlier, when, having narrowly failed to capture a large grey-brown hare for his dinner, it had stopped at the edge of the forest, looked at him with disdain, and said, 'Well, I hope you're proud of yourself, that's all,' and had scampered off into the long grass
The old world order changed when this war-storm broke. The old international order passed away as suddenly, as unexpectedly, and as completely as if it had been wiped out by a gigantic flood, by a great tempest, or by a volcanic eruption. The old world order died with the setting of that day's sun and a new world order is being born while I speak, with birth-pangs so terrible that it seems almost incredible that life could come out of such fearful suffering and such overwhelming sorrow.
Every person born into the world represents something new, something that never existed before, something original and unique....If there had been someone like her in the world, there would have been no need for her to be born." --Martin Buber as quoted in Narrative Means for Sober Ends, by Jon Diamond, p.78
The Tower. He would come to the Dark Tower and there he would sing their names; there he would sing their names; there he would sing all their names. The sun stained the east a dusky rose, and at last Roland, no longer the last gunslinger but one of the last three, slept and dreamed his angry dreams through which there ran only that one soothing blue thread: There I will sing all their names!
In 'Westworld,' I really got to explore new areas, stylistically. We had the Indian world, we had Shogun world, so I got to play with new instrumentation - and also, a lot of new themes.
Ben Farmer brings a legend to life in Evangeline, evoking with grace and panache the travails of the Acadians in mid-eighteenth century America from Nova Scotia to New Orleans. Farmer is a wonderful storyteller, and readers won't soon forget this tale of love and fortitude. Simply riveting.
For AERO, I wanted to revisit in 5.1 some existing tracks in order to give them that space I had imagined when I originally composed them, and also to compose some new tracks for this new technology. All of the existing tracks in AERO have been performed with the original instruments, re-recorded and spatially arranged/spatialised for this new dimensional sound experience without betraying their very essence.
Yet suppose further. Suppose that all worlds, all universes, met at a single nexus, a single pylon, a Tower. And within it, a stairway, perhaps rising to the Godhead itself. Would you dare climb to the top, gunslinger? Could it be that somewhere above all of endless reality, there exists a room?...' You dare not.' And in the gunslinger's mind, those words echoed: You dare not.
What the artist tries to do (either consciously or unconsciously) is to not only capture the essence of something but also to amplify it in order to more powerfully activate the same neural mechanisms that would be activated by the original object.
When I first read the scenes I got to audition, I just could tell there was obviously something there. The writing speaks for itself, but also it's just the fact that 'The Handmaid's Tale' is such an amazing story. I had never read the book before I auditioned.
Bringing Mid-World to a new readership felt like a big responsibility, but I'm so glad that readers have enjoyed the story. That is a reward in itself.
... then there was war in heaven. But it was not angels. It was that small golden zeppelin, like a long oval world, high up. It seemed as if the cosmic order were gone, as if there had come a new order, a new heavens above us: and as if the world in anger were trying to revoke it.
In writing 'William Shakespeare's Star Wars,' I had the freedom to go beyond the original script and add asides, soliloquys and even new scenes. The main characters all get a soliloquy or two - or in Luke's case, several.
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