Emma Donoghue Quotes

Doing a love story as a genre, and looking at love stories in movies, and feeling like I learned stuff about that, and that it broadened my view and my idea of what I can do, and how I can work with the people around me, that was such a great, really satisfying experience.

You need contrast and conflict in order to tell a story. Stories need to have dark and light, turmoil, all those things. But that does not mean the filmmaker has to suffer in order to show the suffering. Stories should have the suffering, not the people.

I'm probably more character-driven than plot-driven. It's rare for me to attach myself to an idea for a story.

I have this theory that anything that happens to you that leaves you alive and intact can be used somewhere in your writing.

It's with bad sentiments that one makes good novels.

Character development is conflict.

The hardest role that I've ever tried to play was Clara Johnson in 'Light in the Piazza' at Lincoln Center. It was the least fun I've ever had, but the most beautiful experience I've ever had. I could not understand her. I could not put my feet in her shoes. I came home every night, and I was depressed.

To be able to write a play a man must be sensitive, imaginative, naive, gullible, passionate; he must be something of an imbecile, something of a poet, something of a liar, something of a damn fool.

I'm interested in writing that explores all sides of human beings.

Of course I want to have a deliciously seductive story on the surface which will keep people engaged and amused, but primarily, I'm interested in other things. It's the texture of any given moment that fascinates me: what is really going on between people or in somebody's mind.

I look for characters that offer me opportunities to explore some aspect of the human condition. I think a lot of actors would say that and would look for that. I've been lucky enough to find projects that let me do that.

I think that internal conflict works very well, because, after all, all the best drama is fuelled by conflict.

You know one of the things about going from modeling to acting is it's so much more fulfilling. With modeling, you get your picture taken, which is great, good for you, you know? But in acting, you're able to reach in and show a little bit more of yourself.

I am always looking for material - whether for my notebooks or for Twitter or Instagram - which means I'm looking for meaning.

For each character, I try to understand what is driving them.

To tell you the truth, while I do enjoy the grand-scale elements, it's the personal scenes, the character moments that I really find satisfying. That's where I get to delve into the characters' minds and hearts. That's where they become living, breathing beings to me.

The more wild experiences you have, the better songs you can write.

For me, the entire journey of Lost has been walking that fine line between discovering Sawyer's humanity and, yet, keeping his edge of anger and destructiveness. He's been through every situation possible, emotionally and physically. Sometimes, it's been scary to get in touch with his growth, especially his relationship with Juliet. I really thought the audience might reject the softer side of Sawyer we saw in that. As for what will happen with him and Kate, all I can say is they have a love that is undeniable, but maybe it must be denied.

I'm a dreamer. I watch people. You don't try to become them because you could never become any of those guys. But you hope that some of it, you know, comes off on you at some point in your show, some point in your writing, that it happens to you and this light just shines on you.

So often with beginning writers, the story that they want to start with is the most important story of their life - my molestation, my this, my horrible drug addiction - they want to tell that most important story, and they don't have the skills to tell it yet, so it ends up becoming a comedy. A powerful story told poorly becomes funny, it just makes people laugh behind their hands.

It's easier to write about heartbreak after you've had your heart broken. You have more material to draw from, you can extrapolate from your own experiences and make reasonable assumptions about how your characters would feel and act.

That's one of the reasons I take a lot of consolation in fiction. You have years to work on it. I think that allows you to reach for the best part of your reader instead of a lot of the internet stuff, in which you're kind of reaching for the worst or the most shallow part of your reader.

Then I decided I would spend the summer writing a novel. That would fix a lot of people.

I let myself go at the beginning and write with an easy mind, but by the time I get to the middle I begin to grow timid and to fear my story will be too long. . .That is why the beginning of my stories is always very promising and looks as though I were starting on a novel, and the middle is huddled and timid, and the end is...like fireworks.

Anything that forces the human soul to scream out and fight really brings out the best in us, and to have an opportunity to portray characters like that is inspiring.