Steven Heighton Quotes
I used to be more of a purist about literature. I thought, 'If it's a really propulsive story, then maybe there's something unliterary about it.'
Quotes to Explore
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Intimate relationships are a gold mine for literature to explore, to understand, to describe.
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We want a story that starts out with an earthquake and works its way up to a climax.
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It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.
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Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.
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The idea behind a dish - the delight and the surprise - makes a difference. Great literature surprises and delights, and provokes us. It isn't just 'Here's the facts - boy meets girl, boy loses girl, boy gets girl.' It's how you tell it.
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I was also the romantic lead in The Boston Strangler - I was the only one that lived to tell the story - so I called myself the romantic lead.
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My books are character-driven. They're not driven by the story.
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I'm a big reader, so when I was in 'Pride and Prejudice,' or, like, in Poirots and Marples, those are all books that I loved, and so it was really exciting for me to inhabit characters from literature that I knew and recognized.
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I worked in the story department for years on 'Cars' and 'Toy Story 3.'
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The Grimm collections were never intended for children. Not because kids were excluded, but because the division we make today of children's literature didn't exist then. The idea of protecting children from tales with violence didn't occur until the earlier part of the 19th century.
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Moviewise, I would love to make the story of princess Erendira. She was a 16 year old princess/warrior who led her tribe in war against the Spanish around 1513. She almost defeated them, and the Tarascans were the only tribe the Aztecs couldn't defeat.
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I love traveling. But I haven't had big, transformative experiences while on the road. When I go out on the road, it's to go out and get a story or do a promotional event.
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When you're a storyteller, part of the process of storytelling is the kind of communion you form with the audience to whom you're telling your story. If some segment of the audience doesn't like that story, it doesn't feel good.
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It is true that short forms of poetry have been cultivated in the Far East more than in modern Europe; but in all European literature short forms of poetry are to be found - indeed quite as short as anything in Japanese.
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I tend to write about my anxieties - it's what I'm afraid will happen. And I write a story working it out.
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I first encountered Bradbury's writing when I was pretty young. He's a great bridge author between young-adult fiction and literature.
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You know that was much more of a kind of cameo, I love the movie, I love the story, I love Johnny as a fun little role but it was more of a cameo, not anywhere near as developed as this role.
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I love a good cliffhanger. I love when big events happen in shows. I love shows that aren't afraid to take risks and to really do what's best for the story line and realistic for the story line.
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We have hereafter only two roads to choose: one is to embrace the ancient literature and die, the other is to forsake the ancient literature and live.
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Rameswaram has, since antiquity, been an important pilgrimage destination.
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Don't get me wrong: there are some fantastic people who work at British Cycling who kept me together, who were there when I was struggling with it all. They were walking the same tightrope in many ways, because if you do speak up, your days are numbered.
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The real damper on employee engagement is the soggy, cold blanket of centralized authority. In most companies, power cascades downwards from the CEO. Not only are employees disenfranchised from most policy decisions, they lack even the power to rebel against egocentric and tyrannical supervisors.
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I used to be more of a purist about literature. I thought, 'If it's a really propulsive story, then maybe there's something unliterary about it.'
