Nathan Lowell Quotes
My works are a direct response to the typical space opera. I grew tired of always reading about how the people with power, with agency, get involved in huge sweeping arcs of stories. I wanted stories that dealt with real people, people I could relate to.
Quotes to Explore
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The love of Louis XVI for mechanical works is well known. He had a little workshop at Versailles where he amused himself making locks, assisted by Francois Gamain, to whom he was much attached and with whom he spent many hours in projecting and executing mechanical contrivances.
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I'm not the best singer in the world, but the albums have always been personal. They're stories about me and what I'm going through.
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I try to get roles that challenge me in what I can do and who I think I can portray. For me, it's about creating characters with really fascinating stories, because that's what I like to watch on TV.
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I'm not a Luddite at all. I love all this stuff. I look at all the gadgets that come out and I think, 'Oh, this fix works for me. But the rest don't.' I'm not genuflecting in front of the God of Newness.
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The international media concentrates on the famous, the big names. Al Jazeera goes to the margins, investigates stories that are still developing and in the future become very big. Why did the Arabic world love Al Jazeera? Everybody felt he was represented in the newsroom and on the screen. That kind of belonging is ours.
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I always have a good quality extra virgin olive oil. A cheap quality oil will end up cheapening your dishes. And I love sweetening my dishes with maple syrup. It has a bit of a bitter kick at the end that works wonderfully in savory dishes.
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It's great hearing stories of my mum growing up in Brooklyn, then moving to Florida, having me and growing up with this eccentric, fun family. Although I don't eat a lot of Italian things, because I'm vegan. I was raised on meat and cheese, so I've had enough for anyone's normal life span.
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but sometimes optimism is the only drug that works. But it’s sadly temporary in its effects.
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My stories do have plot. They're not just scattered language; they're controlled, toward an end.
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Stories were wild, wild animals and went off in directions you couldn't expect.
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Stories don’t always have happy endings.
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The only rock I know that stays steady, the only institution I know that works, is the family.
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The more we're governed by idiots and have no control over our destinies, the more we need to tell stories to each other about who we are, why we are, where we come from, and what might be possible. Or, what's impossible? What's a fantasy?
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The more gay people can tell our stories, the more other people will accept gay people.
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We'll see what's out there. We've evaluated a lot of players. We'll see how it all works out here.
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I love directing, It means so much to me to direct stories about subject matter that I care deeply about. I can act in many things, and you can try to experience different characters, but to direct is years of your life and you have to really love it and believe in it.
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Thus I rediscovered what writers have always known (and have told us again and again): books always speak of other books, and every story tells a story that has already been told.
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When my story stalls on me, I've played my hand too soon.
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I'd always avoided stuff like 'Where are they now?' or 'Whatever happened to?' Just 'No thanks, thanks for calling.' You tell me, have you ever seen a 'Whatever happened to' where they seemed anything but pathetic?
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I couldn't do my show without spending 12 years on the streets of Humboldt Park. It made me a better interrogator. Still, if they had taken me out of my squad car and gave me a show, I would've been terrible. But on 'Springer,' the spotlight was on Jerry and I got to grow up within the show.
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My works are a direct response to the typical space opera. I grew tired of always reading about how the people with power, with agency, get involved in huge sweeping arcs of stories. I wanted stories that dealt with real people, people I could relate to.
