Many novelists take well-defined, precise characters, whose stories are sometimes of mediocre interest, and place them in an important historical context, which remains secondary in spite of everything.

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Mark Ruffalo

With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.

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After The Poems What Will Be For Me?

After the poems, what will be for me?
I am now wholly in them
But they are not as good
As I dreamed
And I as a poet am not the answer to my own ambition.

Will it be ‘Stories’ next?
And then on to ‘Aphoristic reflections’ Pascal- like?

How will I do it?
Or will, as seems most likely now, how will I never do it?

I am the mediocre poet who is the mediocre writer who is the mediocre thinker who is mediocre in all he does

I am the mediocrity and my mediocrity makes me me.
Mediocre me- Pity pity the poor ambitious soul
Who would have been great, and is not.

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Now, whenever you read any historical document, you always evaluate it in light of the historical context.

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Matt Groening

It's a funny show. The characters are surprisingly likable, given how ugly they are. We've got this huge cast of characters that we can move around. And over the last few seasons, we've explored some of the secondary characters' personal lives a bit more.

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A modern theory of knowledge which takes account of the relational as distinct from the merely relative character of all historical knowledge must start with the assumption that there are spheres of thought in which it is impossible to conceive of absolute truth existing independently of the values and position of the subject and unrelated to the social context. Even a god could not formulate a proposition on historical subjects like 2 x 2 = 4, for what is intelligible in history can be formulated only with reference to problems and conceptual constructions which themselves arise in the flux of historical experience.

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Though my books are written from a historical perspective, I have goon so far back that I am in the realm of prehistorical speculation rather than simple historical fact to weave my stories around.

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David Morse

In independent film you tend to have stories that involve more of a community, and the smaller characters are important to the story.

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There are some circumstances in which the First Amendment interest comes up against another interest that is really important and in which we have to make a decision in a particular case as to which is more important.

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We all now tell stories by cutting from one dramatic scene to the next, whereas Victorian novelists felt free to write long passages of undramatic summary.

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We’re poor people Your Honour

We get some bones the dogs didn’t want
We know what you’ll say so just don’t
We get some nice music from your studio
And really nice soc-vision video

Economically speaking
We are the secondary consumers
Scattered around different containers
Underbridge death entertainers
And it’s really not our fault
We are sort of under default
On your roaring statistic scales
Of whatever remains or prevails


Note: ‘secondary consumers’ is a viable economic term for people who use used-up products

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I'd like to do a lot of different stuff. I think it's important as a creative person to keep challenging yourself and keep doing new stuff. If you end up trying to repeat yourself it's death. It just becomes boring and takes the passion out of it. You gotta find stories and characters that you really want to hang out with.

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Secondary Modern

This must be the place
Second place in the human race
Down in the basement
Now I know what he meant
Secondary modern
But there must be a problem till the girls go home
This is the hand that you never shook
You never gave me the chance that I took
Secondary modern
But there wont be a problem till the girls go home
Is it out of the question
Between you and me
Is it pleasure or business
Or a packet of three?
Nobody makes me sad like you
Now my whole world goes from blue to blue
Secondary modern
But there wont be a problem till the girls go home...

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It's very important to always put things in their historical contexts. It teaches important lessons about the country in question.

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A precise art?

That place we were.
How right it seemed then.
The look, the feel of each other.
A precise art?
Flawed by time.
So now sadly out of
Rhyme and communication.
Memories captured
Somewhere in time.
A hidden pain, an unrecognised crime
Of betrayal.
Who's to blame?
This precise art of lovin'
Is never known.
Two minds in synchronicity,
Or in different worlds of relativity?
The ongoing reality of life.
What was that?
Oh just a scientist's thesis on relationships.
A precise art or another fools'
Falling love dart.

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Will Arnett

Yeah, you know, within the context of TV families, these are pretty unsavory characters.

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Nadine Gordimer

From Ernest Hemingway's stories, I learned to listen within my stories for what went unsaid by my characters.

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I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible.

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The Stories

The stories
Night bed its mats
And also we are
Wait and see
The narrative begins with the story
The stories of long time ago
Between fact and fiction
The stories from the ends of the earth
And depth of the ocean
We draw the characters and imagine
Live roles
And sail far and far
And overwhelmed with happiness
And the longing pulls us
And eyebrows painted terms on our faces
The story behind the story
Delight our nights
The stories of my grandmother.

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Graham Greene

A petty reason perhaps why novelists more and more try to keep a distance from journalists is that novelists are trying to write the truth and journalists are trying to write fiction.

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A plant's ability to grow, increase and sustain itself became of secondary and almost minimal interest.

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