Corin Nemec Quotes

Life itself is a school, and Nature always a fresh study.

In the best writers, the outward-reaching interest in the 'found subject' leads back at a hairpin to some uncomfortable inner recognition that the writer has journeyed very far to see; he comes home half-dead.

If the novelist shares his or her problems with the characters, he or she is able to study his personal unconscious.

I like to jot down ideas on the back of envelopes and to recognise the potential value in small things. I also like the freedom to think without feeling compelled to write too early. Stories are often better if we can hold back and get to know the characters and the sounds of language.

Curiosity is the best motive for writing: curiosity about the world at large, or about oneself.

Every book is a new journey. I never felt I was an expert on a subject as I embarked on a project.

Travel makes a wise man better, and a fool worse.

All intellectual superiority is the fruit of active effort.

Any characters that make me think, 'I don't know if I can do this,' are the ones I most want to do. I don't want to do the same thing over and over.

Sometimes it takes me six months before I find out what a line means, even if the writing is superficial... To do a play right, really, I'd like to take two years of rehearsal. You study the character by living with him.

I live for this. I continue to study. To bump and learn.

I always love being an actor for the simple fact that, whenever you do a job, you have to read a lot of stuff that you've never read before; you explore things, and generally you meet experts in lots of fields, and you get to absorb that information and make it look like you've done it for 20 years.

Every outing is a learning experience.

I like to grind and not think too much about the good stuff. I like to focus on the stuff I need to get better at.

I strive to get better and better in understanding how the world works.

I work hard. I like getting to the end of things. And I write my plays that way.

I worked hard to get stronger and better, and I'm really happy and satisfied.

Going to drama school was the start of my journey of discovery and getting to know myself.

The more time I spend working on 'Sekiro,' the deeper I sink into this zone of blood and gore and conflict. But if I want to get out of it, I can walk over to the other side of the studio and ease myself into a completely different feeling when I work on 'Deracine.'

I spent a lot of time doing really unimportant work as an actor. It was important when I started writing that I obviously make it entertaining, or no one is going to go see it - but to really make you think, that is my goal.

When writing 'Give and Take' and 'Originals,' the predominant emotion for me was curiosity.

I came up with a lot of characters when I was growing up that were just creative outlets, and then, at one point, I came across Gus Dapperton in the back of my head when I was making music.

Blake & Murphy and I used to be best friends. They helped me discover who I am. They taught me that Bliss was good, but bad is better. Because of the boys, I was able to really express who I am instead of being the pixie princess I was pretending to be.

I remember travelling up and down the road, and I kept journals during my whole career, and I was always making notes about things I wanted to say, words I wanted to create, actions I wanted to do, things I wanted to do to make the character more imaginative and fantastical.

While I'm working on something, every single part of me is in it. But then, once it's done, I leave that place behind. I usually don't like to revisit it. So it's almost like listening to a different person.