Khaled Hosseini Quotes

I also felt The Kite Runner was a story that would lend itself well to a visual retelling in a graphic novel.

When I make a photograph I want it to be an altogether new object, complete and self-contained, whose basic condition is order (unlike the world of events and actions whose permanent condition is change and disorder).

But we did see the process develop. I remember going to the Rocket Pictures base and they had something like 40 people there, drawing. They didn't know what the characters looked like yet and I remember on the walls seeing 30 or 40 different versions of Juliet. So, it was then that I realised that someone's got to come in and make some really executive decisions.

Because I come from the theater, I use the images of the theater and of movies a great deal when I write. I see the story in my head. I have to break down the outline of a story first. I have to know where I'm going. Usually I have a good beginning and a good ending, and then I think, "Now I have to find my way through it."

You know when a script is good but you don't have any knowledge how visually it is going to look. When this [Happy Valley] came out and I saw the first episode and thought it was terrific.

...one sees differently with color photography than black-and-white... in short, visualization must be modified by the specific nature of the equipment and materials being used.

I miss directing. I see stories in images and music more so than in dialogue.

A good adaptation of your book is worth it because it is such a wonderful experience to see your world translated onto the screen.

Jordie Bellaire knows how to tell a story with color.

I think that era of mechanically figuring out of how to bring a particular evocative image to the screen was a really important part of my education.

Working with the kind of talent that I've gotten to work with, like the cast of Sin City, it makes me think probably more fully dimensionally about what is going on behind their eyes. But I draw the way I draw, and ain't nothing gonna change that. Although, I draw Marv and I think, "Boy, I could throw a little Mickey [Rourke] in there."

It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.

It would be very curious to record by means of photographs, not the stage of the picture, but its metamorphoses. Perhaps one would perceive the path taken by the mind in order to put its dreams into a concrete form. But what is really very curious is to observe that fundamentally the picture does not change, that despite appearances the initial vision remains almost intact.

Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.

The longer I've been writing scripts, the more I find that you have to give the artist more leeway or else you'll just be disappointed. You can't force them to draw every image that's in your head. Since I'm a horrific artist, I wouldn't want them to anyway. So I definitely give them a lot more leeway now than I did at the beginning.

Those who are not conversant in works of art are often surprised at the high value set by connoisseurs on drawings which appear careless, and in every respect unfinished; but they are truly valuable... they give the idea of a whole.

The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.

There are two parts to the process: taking the picture and finding ways of using it.

When painting portraits a lot of people say, 'Why not get a photograph of the person?' Photography is wonderful and it is an art form in itself, but... my portrait is a culmination of elements... a truer image of a person than just the 'click' of a snapshot.

Drawing is the poet's written line, set down to see if there be a story worth telling, a truth worth revealing.

We [Rodriguez and Frank Miller] wanted to take the movies and turn them into a graphic novel, so that people wouldn't even know what they were looking at. It's still visual storytelling, but it's approached completely different. The two mediums don't have to be separate mediums. They can be one and the same.

I always liked making things, and then I fell into animation. And then luck comes into it as well.

A deeper truth the camera can see can be more surprising than even the director imagined it could be. That's a wonderful thing that grows and happens in films.

With live-action I think we'd have lost the universal appeal of the Persepolis story. With live-action, it would have turned into a story of 'the Other' - people living in a distant land who don't look like us. It might have been exotic, but also a "Third-World" story.

I've made movies that were adaptations and I've been kind of frustrated by the process because, you know that old axiom, 'It's never as good as the book'? It's often true because nothing competes with your own imagination. When you're reading a book and you imagine something in your head, nothing's going to compete with that.