A Quote by Walter Kirn

God is a freaking character, with enough foibles, tantrums, and paradoxical behaviors to supply a thousand screenplays. But who do you cast? — © Walter Kirn
God is a freaking character, with enough foibles, tantrums, and paradoxical behaviors to supply a thousand screenplays. But who do you cast?
When I'm writing novels, even screenplays, it's never an actor I have in mind; it's always the version in my head of who the character is. Once somebody gets cast, I have to adjust a little bit to who they are.
I have never knowingly, I swear to God, written satire. The word connotes exaggeration of the foibles of mankind. To me, mankind just has foibles. You don't have to push it!
I want to be a freaking feminist and wear a freaking Peter Pan collar. So freaking what?
There is enough oil out there for world demand. It is true that a lot of what's driving oil prices up right now is not the lack of supply. There's enough supply.
Depend on it. God's work done in God's way will never lack God's supply. He is too wise a God to frustrate His purposes for lack of funds, and He can just as easily supply them ahead of time as afterwards, and He much prefers doing so.
I consciously think about the ethnicity of every character that I create and cast. But one thing that is equally important is quality representation. It's not enough to put an African-American in there, a female in there, a gay character in there: How significant is their contribution? Can they drive the story?
A day to God is a thousand years, Men walk around with a thousand fears. The true joy of love brings a thousand tears, In the world of desire, there's a thousand snares.
TV and film both attract me equally. In both, you do search for a role that would be enjoyable to do, that has a great storyline and then, secondly, you look at the cast and the crew - are they respectable? How I look at it is my character - has the character got enough substance? It can't just be a one faced character, which is there to fill a gap. He has to have a purpose, so if it ticks all of those boxes then generally it's a good choice.
Beliefs create behaviors, and the dysfunctional behaviors of the human race, observable everywhere every day, are the product of our non-workable beliefs. Chief among these is the belief in separation, which has arisen out of our ancient Separation Theologies. This is a way of looking at God that insists that we are "over here" and God is "over there."
America is such a paradoxical society, hypocritically paradoxical, that if you don't have some humor, you'll crack up.
You can't take on the qualities of a character that you'd never be cast in - and no one would ever cast you in.
Rebellion against God results in being cast out of his service. God doesn't run the affairs of the spiritual world or our world with rebels on his payroll. They are cast to the Underworld (in the case of the Eden rebel), or a special place in the Underworld (e.g., the offenders of Genesis 6:1-4, who are, to quote Peter and Jude, "kept in chains of gloomy darkness" or "sent to Tartarus"). There are more divine rebels than that in the Bible, but hopefully that scratches the surface enough.
In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.
Character starts with the alphabet. Letters: words: sentences Character is a function of language—a collection of errors and deviations that resonate with certain behaviors. As with every other element in fiction, it is a record of a writer’s decisions.
I loved 'Dirty Sexy Money.' That didn't have a long enough shelf life. I would've liked to explore that character and play with that cast longer. That was a lot of fun to shoot.
My approach to making movies is different than other people, because I just write a lot of screenplays. I'm constantly writing screenplays.
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