Zach Gilford Quotes

I don't see novels ending with any real sense of closure.

I like it when stories are left open.

We all hate those stories that end with 'And that's the story.'

I do like to wrap things up and leave some things to the readers' imagination.

It's absolutely of no importance who or what V was under the mask. He isn't a who or a what, he's an idea. The thing is, you couldn't continue it. Now and then the idea of a sequel has been raised, in vague forms, but I think it would be a bad idea. The story's finished.

What's upsetting about an autobiography is that the final chapter is always missing. I mean, you want the death, don't you?

I always find with dramas that the more that's left to the imagination of the audience, the better.

Nothing’s worse than a story without an end.

I would really hate it if I could call up Kafka or Hemingway or Salinger and any question I could throw at them they would have an answer. That's the magic when you read or hear something wonderful - there's no one that has all the answers.

I have the right to interpretation as a dramatist. I research. It's my responsibility to find the research. It's my responsibility to digest it and do the best that I can with it. But at a certain point that responsibility will become an interpretation.

I see the poem or the novel ending with an open door.

Kubrick never explained the ending to us, or what his intentions were. He didn't intend for it to be a predictable film.

Not everything has a happy ending, and not everything has an ending. Some things just kind of dribble away or cut off abruptly.

I often have the impression that the book I've just finished isn't satisfied: that it rejects me because I haven't successfully completed it. Because there is no going back, I'm forced to begin a new book so I can finally complete the previous one.

Literature is the question minus the answer.

You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.

With most of the songs and music that I've composed, irrespective of the myriad videos made, I was always careful not to overly define the experience, leaving room for people to internalize things for themselves, making their experience more integral.

Oftentimes I deliberately put ambiguity into my books so that... the reader is left with an echo of: 'How much of this was from me?'

The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.

You make a movie, and if somebody reads something into it, then great, more power to him.

'Close Encounters of the Third Kind' ends with the spaceship lands and Richard Dreyfuss' character best on, but a bunch of pilots and sailors from the 1940s get off. You kind of wanted to know what happened next.

An artist cannot be responsible for what people make of their art. An audience loathe giving up preconceived images of an artist.

I'm of the opinion that life doesn't always tie up neatly at the end of the episode.

I learnt early on that your audience take the songs in the way they want to rather than the way you might want them too.

One of the things you hope you've done as a playwright is create roles that can sustain different interpretations.