Michelle Paver Quotes

If you want to know the taste of a pear, you must change the pear by eating it yourself. If you want to know the theory and methods of revolution, you must take part in revolution. All genuine knowledge originates in direct experience.

I need more raw experience. I've read and watched a lot of things, but I haven't done a lot of things.

The point of view is the biggest problem with games, because what we play must be clearly presented in the best way for me to have an immersive game experience.

There's no substitute for seeing firsthand a well being drilled.

I'm a person who enjoys the hands-on experience of anything I do. Get your hands dirty - that's the thing that drives and motivates me.

I write both fiction and nonfiction. I begin my fiction with the main character. The story comes later.

To be radical, an empiricism must neither admit into its constructions any element that is not directly experienced, nor exclude from them any element that is directly experienced.

With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.

I've always felt that the traditional novel doesn't give you enough information about the narrator, and I think it's important to know the point of view from which these tales are told: the moral makeup of the teller.

Anyway, in my writing I've always been interested in finding places to stand, and I've found it very useful to have a direct experience of what I'm writing about.

I write a story as if it were a letter to someone and essentially, that's what you do.

I think the idea is to try and understand everything about the characters and where the character is coming from, from their point of view, why they say what they do. And not, 'Oh, but I would never say that. Why does the character say that?' But then making it as personal as possible.

Working through experience is best for me, just being there and trying to get into the mode.

No one will understand a Japanese garden until you've walked through one, and you hear the crunch underfoot, and you smell it, and you experience it over time. Now there's no photograph or any movie that can give you that experience.

I started culinary school at a very young age, and really I wanted to be out working, cooking, more than I wanted to be in a classroom. You could say I wasn't a very good student - I wanted to be a student of life and experience.

When my main character in 'Heat' climbs the tower, the highest diving platform, hoping to resume competitive diving after an injury, I am there with her, sensing the cold grit under her instep. The details are what matter - they are the experience.

You have to see a building to comprehend it. Photographs cannot convey the experience, nor film.

You can do all the film school you want in classrooms, but if you are on the set, you are going to learn so much more because you are really in the middle of doing it.

The world is the true classroom. The most rewarding and important type of learning is through experience, seeing something with our own eyes.

I think it's more interesting to throw people into a story and let them catch up instead of explaining and feeling like you have to slow down for them. I think audiences, for the most part, they don't want to be ahead of you.

But it's the particularity of a place, the physical experience of being in a place, that makes it onto the page. That's why I don't just do library research. I very rarely write about somewhere I haven't been.

We can see every square metre of the planet on Google Earth. But there is no substitute for that sensory experience of going out into the world and discovering things for yourself.

Life experiences cannot be learnt on the film set or in front of the camera.

I've always kind of gravitated toward characters who are a bit distant from the narrator or the point-of-view characters, so that's kind of important to me, to set up a different character who would be the point-of-view character for the story.

I have a brilliant sound design team who's been working with me since 'Mr. Robot,' and one of the things we always think about - and it's also something we think about with cinematography - is how we get inside the characters' heads and how do we place the audience where we want them to be or how we want them to feel at any given moment.