Burgess Owens Quotes
We're dealing with whether we're going to accept the idea of socialism and Marxism and atheism. Or go back to the American way, Judeo-Christian values, which meritocracy is part of it. The idea that content and character and talent are colorblind.
Quotes to Explore
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The most important thing Paris gave me was a perspective on Latin America. It taught me the differences between Latin America and Europe and among the Latin American countries themselves through the Latins I met there.
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This basic thing I always do: 'What happened between the character's birth, and page one of the script?' Anything that's not in the story, I'll fill in the blanks.
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My own writing has perhaps more of an American flavor than a British one, but that's because the stories I've so far written have needed it. 'Empire State,' 'Seven Wonders' and 'The Age Atomic' are all very place-centric, where the setting itself is almost a character. But there is a universality to story that isn't just limited to science fiction.
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Nobody ever went broke underestimating the taste of the American public.
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For fiction, I'm not particularly nationalistic. I'm not like the Hugo Chavez of Latin American letters, you know? I want people to read good work.
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What works for me is knowing the character in an emotional sense. I wish I was more logical but it doesn't work for me like that. I need quite a lot of time; it's why I always worry when I'm doing more than one thing at a time. I hope that some sort of magic will kick in.
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When you choose your friends, don't be short-changed by choosing personality over character.
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I'm a rational person, and I'm not a method actor. You don't need to call me by my character's name while I'm not shooting.
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I just don't consider myself to be, you know, an American actor. I don't want that life.
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I actually love doing period pieces, purely because it takes you into a different world, mentally. The clothes you have to wear are so far from our everyday clothes that it immediately helps with the character and putting you in that mind frame.
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All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
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My favorite shoe brand is Christian Louboutin - I don't have a favorite shoe store per se.
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If I don't love my character, I can't do it.
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When we say Afro American, we include everyone in the Western Hemisphere of African descent. South America is America. Central America is America. South America has many people in it of African descent.
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I bought the rights to this book, 'The Ploughmen,' by a Montana writer named Kim Zupan, and I've written the screenplay, and I really feel pretty strong about it. It's really hauntingly beautiful. It's got some suspense and great drama, but it's a real character thing.
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The average Jordanian has much in common with the average American in terms of the values that we share, the fact that we all value the family unit, our work ethic.
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Though I made my share of mistakes, as all parents do, I was devoted to my kids. I walked them to school every morning and walked back to pick them up at 3.
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One of the things that I like about 'Narcos' is that not only Pablo but with all the characters - this is not a black and white show. This is not a regular American cop show where two cool cops go to save a country from a bad guy. All the characters are very complex.
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Power is a test - the test - of character.
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Many miles away there's a shadow on the door of a cottage on the Shore of a dark Scottish lake.
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I feel like I'm a secondary artist, a kind of a conduit for the writer, and if it's a good writer, then I have a great road map.
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We're more interested in someone writing a really great answer that's going to be read by thousands or tens of thousands of people over the next few years as it stays on Quora and as it gets distributed on the Internet.
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We're dealing with whether we're going to accept the idea of socialism and Marxism and atheism. Or go back to the American way, Judeo-Christian values, which meritocracy is part of it. The idea that content and character and talent are colorblind.
