Daniel Handler Quotes

John Bellairs's young adult mysteries were great - and super creepy.

That movie [A Series of Unfortunate Events] told four books in two hours, and we have two hours per book. So we have eight hours to tell four books, and if people watch we'll get to tell more of them. There's only thirteen books, so there's only going to be two more seasons, but that allows for a lot of time to be in character and to maintain character.

The book is really, really dark, to the point where some people that I've talked to have said that it could be a series. And I'm like, Where? VH1? It's a little hard for VH1.

'Harry Potter' opened so many doors for young adult literature. It really did convince the publishing industry that writing for children was a viable enterprise. And it also convinced a lot of people that kids will read if we give them books that they care about and love.

What are you reading?" Owen asks. "Charlotte's Web," Liz says. "It's really sad. One of the main characters just died." "You ought to read the book from end to beginning," Owen jokes. "That way, no one dies, and it's always a happy ending.

The way that the stories go in the Snicket books is just the way stories naturally go to me. They're full of misery, and yet the misery ends up being slightly hilarious. And in terms of the warnings on the back of the books, that really started as an honest assessment of their marketability.

Insider can be more ludicrous. How did I ever end up [as one]? Carsick [Waters's book on hitchhiking] was on the New York Times best-seller list for five weeks. [One of the characters was] a singing asshole that does a duet with Connie Francis! Times have changed. That's mainstream, in a weird way.

I started these Rush Revere and these children's books, I mean, there was a mission. It was to teach the truth of American history because, ego-wise, I love America. I wish everybody did. And I hope everybody will.

It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.

I think the Harry books are actually very moral, but some people just object to witchcraft being mentioned in a children's book.

I never wanted to do Harry Potter. I thought it should have stayed as a book. There are some books that should be made into movies and some that shouldn't. Harry Potter is 70% imagination. When the movie comes out, it's going to be such a stereotype for kids. When they think of Harry Potter, they're going to think of what is portrayed on screen.

Is it like a Harry Potter thing?" He turned his head then. "A what?" "A Harry Potter thing," she said again. "You know, don't say Voldemort's name because you might attract his attention?" He considered it. "You mean the children's book." "I have got to get you to watch more movies," she said. "You'd enjoy these. Yes, I mean the children's book.

I'm a big fan of the Harry Potter books, but I'd love to do one where one of the kids dies, or one of the main characters dies. I love for those things to have a little bit more tragedy.

My favorite new character isn't new, but more fleshed out - Gadd, the alekeep at the Tunnel. He's got him some teeth and tats. His history is hinted at in Discourse, and I plan to explore it more in later books.

But some characters in books are really real--Jane Austen's are; and I know those five Bennets at the opening of Pride and Prejudice, simply waiting to raven the young men at Netherfield Park, are not giving one thought to the real facts of marriage.

When someone is mean to me, I just make them a victim in my next book.

I think sometimes it's sort of easier to be playing a role based on a real person because there's quite often a lot more information, you're not making it up, it's there in books, it's there in research form. But really the questions you ask about the character, and why people behave, and where they come, and how they've ended up in the places they've ended up are the same.

You mean, like a book?

There are only two kinds of books which you can write and be pretty sure you're going to make a living — cook books and detective stories.

I didn't write professionally at first. It took me nine years to get anything published. At the beginning I mostly wrote picture books, which were rejected by every children's book publisher in America. The first book of mine to be accepted for publication was ELLA ENCHANTED, and not one but two publishers wanted it. That day, April 17, 1996, was one of the happiest in my life.

It makes it easier, if you can't do an American accent. I don't know. It's different. I played a character in Never Let Me Go where the script for my character was very sparse, and I enjoyed it. With Never Let Me Go, I had a whole book written from my character's point of view, so I always knew where I was. But, with Ryan [Gosling], it was just easy. He's such a brilliant actor and he is so prepared. He doesn't have to warm himself up to be in a scene. He's just in it. It draws you in, in a way.

I'm not 'Mr. No-By-The-Book.' I just want to make sure the character is by the book.

Writing is acting in the sense that you're imagining and inhabiting another. In the book I was trying to get at the root of what true acting is.

Be sure then to read no mean books. Shun the spawn of the press on the gossip of the hour. Do not read what you shall learn, without asking, in the street and the train.

I rarely write in my own voice except in book reviews and memoirs; otherwise, I am writing in mediated voices, modulated in terms of the characters whom the voices express.