Boy George Quotes

From an artist's point of view, I always want to work with the writers I admire.

My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I've learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.

It's fun to see how other artists adapt my work.

The most basic excitement was the opportunity to work with Dave Cockrum. He was an artist I'd admired for years and our imaginations were ridiculously simpatico.

Alan Jay Lerner needed a hit. The Broadway lyricist and librettist was a decade removed from his greatest successes when his partnership with composer Frederick Loewe produced something approaching unholy alchemy.

You just knew you were in great hands with somebody so talented, so bright and with such depth. We both [with Ellen Page] loved the script and the book [Into the Forest], which I read after I read the script, and highlighted it and dog-eared it to craziness.

I really do like working very closely with a director and developing characters.

The way you would know if someone is famous in the art world is that you would ask your mother. My mother knows who Picasso was. She knows who Warhol was.

One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories.

We really have a close friendship with Christian Petzold, which means we can be more frank and open towards each other, always with total respect. But, we push each other a bit further and further always, and we're always still curious about each other. And when he talks about a story he's thinking of doing, then the whole process is so special because I'm involved in a very early stage and I have the feeling I can, and not only, influence anything about my character, but about the whole story that my character's in.

They [Didier Dubot ] approached me to do a collaboration and I just couldn't say no because I really loved the collaborations they did before.

There is something good about the character of Gomez. I wouldn't trade the association with him for anything or any role that I might have missed.

I never got really into Twitter until more recently when I started doing the Dirt Nasty thing, and created that other character. I think it's almost essential now. I don't think Leonardo DiCaprio necessarily needs to do it, but someone like me, who's somewhere in the middle of nowhere and a shitstack, I need to do that.

I'm scared. I'm excited. I'm ready for whatever happens but I think that fame is what comes along with the territory when you open yourself up and become this story, this book for anyone to read.

When you work with a great director, you can have a great partnership.

To some characters, fame is like an intoxicating cup placed to the lips,--they do well to turn away from it who fear it will turn their heads. But to others fame is "love disguised," the love that answers to love in its widest, most exalted sense.

I think for Lev [Grossman], C. S. Lewis was a huge inspiration from his childhood. I know that Brideshead Revisited is a book that he's incredibly found of and he took certain structural influences from that book that he brought into The Magicians.

Adapting a book is essentially a collaboration, whether the author is alive or dead.

To switch right into creativity usually takes a bit of time, and this came up right at that juncture where I thought, okay, here's an opportunity to work with somebody I really respect in a new medium.

A lot of solo directors have a really strong creative producer with them. Jay and I have less of a need for that because we have each other.

[My characters are] conglomerations of past and present stages of civilization, bits from books and newspapers, scraps of humanity, rags and tatters of fine clothing, patched together as is the human soul

By nature, a storyteller is a plagiarist. Everything one comes across - each incident, book, novel, life episode, story, person, news clip - is a coffee bean that will be crushed, ground up, mixed with a touch of cardamom, sometimes a tiny pinch of salt, boiled thrice with sugar, and served as a piping-hot tale.

Time has a doomsday book, upon whose pages he is continually recording illustrious names. But as often as a new name is written there, an old one disappears. Only a few stand in illuminated characters never to be effaced.

There's a lot of people I'd love to work with at some point, but I think the song has to be the right thing. It has to be the right fit.