A Quote by Theresa Breslin

What I try to do - and I think this is the former librarian in me - is to get primary source material. — © Theresa Breslin
What I try to do - and I think this is the former librarian in me - is to get primary source material.
Twitter for me is a form of entertainment for the followers and it's also a source of information. I try to tweet things that I think might make people smile, or to share information that I want to get across, like an event like this that can inspire other people to get involved. I try to mix it up. I think that is a reflection of me - a family man, an actor, and a philanthropist.
Even my wife and two of my children are in "Leaves of Grass". Because I love the source material so much, it was really easy to write and an utter delight to get to direct because I had people like Edward [Norton] elevating the material and surprising me in their interpretations of all of this stuff that's so close to me.
My biography of Jesus is probably the first popular biography that does not use the New Testament as its primary source material.
When I'm sniffing around new territory, I often choose, rather randomly, one general book and then follow its bibliography and notes to other, more specialized works and to the primary source material.
Technology innovation is starting to explode and having open-source material out there really helps this explosion. You get students and researchers involved and you get people coming through and building start ups based on open source products.
I never really have blank page syndrome. I don't get blocked. I have a plan for my novel before I start which, although incomplete, probably contains enough material for several novels by a quieter kind of writer. And I try to get my arms around that material and see where it takes me.
The librarian must be the librarian militant before he can be the librarian triumphant.
If anything, I've found nonfiction a little easier. You don't have to make anything up. Of course, that's the inherent difficulty as well: when you hit an information black hole, you don't get to make it up. That hasn't come up too often with this project though. I'm lucky to have tons of primary source material , reams of letters and diaries and memoirs.
The librarian isn't a clerk who happens to work in a library. A librarian is a data hound, a guide, a sherpa and a teacher. The librarian is the interface between reams of data and the untrained but motivated user.
I think my background in film taught me that a great book adaptation is not always slavishly faithful to the source material.
I just really try to stay focused on what the material is wanting to do. My basic assumption is that no one will ever listen to it anyway. It's fidelity to the material. That's my contract: It's me and the material. And if it connects with other people, I'm thrilled.
Here, then, is the point at which I see the new mission of the librarian rise up incomparably higher than all those preceding. Up until the present, the librarian has been principally occupied with the book as a thing, as a material object. From now on he must give his attention to the book as a living function. He must become a policeman, master of the raging book.
It's usually very, very hard for me to pick up a script that was written and try and see myself as a part of that, especially when you're used to performing all your own material. It's OK with drama, I like being handed great material but I think with comedy it's far more personal and probably a lot harder for me to find a fit.
I think Cormier is gonna come out and try to wrestle me, try to get me tired, and try to push the pace. I know he might not say that I'm on his level but I think I am and he thinking that I'm not, really.
Fiction stymies me with its possibility. I can't see the bottom and I freeze, cling to the side, or just choke. In nonfiction, particularly that which takes personal narrative for its primary topic, I have a finite space and a finite amount of material. I can't fabricate material, I can only shape and burrow into it.
My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.
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