Helen Dunmore Quotes

I really cite Walt Disney as teaching me everything I know. It sounds crazy, but I'm serious! In 'Bambi,' the mother dies, but you don't see the corpse. You see the father, the stag, come up and you see 'Bambi' alone, and that has so much more impact than seeing a mutilated deer.

My job is to form the people, the story, the sentences. Every reader will bring their own life and their own history to the story and shape it accordingly. I guess you can say it's like I am sending them a letter.

Gail Godwin has written a book about the heaviest matters of loss, grief, and loneliness with a touch so light that I was as often deeply amused by it as I was deeply moved.

A good novel begins with a small question and ends with a bigger one.

Now I am setting out into the unknown. It will take me a long while to work through the grief. There are no shortcuts; it has to be gone through.

I hope readers will do what I do when I read a novel I like: talk in ways that will illuminate their own lives.

Grief comes and goes, it ebbs and flows. I think one of the lessons of this for me is that there's no one way to grieve. Everyone does it in their own way, in their own time, and we all process life and its challenges and its ups and downs as they come.

I did not know how to reach him, how to catch up with him... The land of tears is so mysterious.

Loss as muse. Loss as character. Loss as life.

With each movie [Twilight saga], we went in trying to explore that character a little deeper, or in a different sense. But, at the same time, there was a comfort in knowing that you know this person.

Had we lived, I should have had a tale to tell of the hardihood, endurance and courage of my companions which would have stirred the heart of every Englishman. These rough notes and our dead bodies must tell the tale, but surely, a great rich country like ours will see that those who are dependent on us are properly provided for.

How do you capture the drama of a Rembrandt painting in a movie? How do you feel that moment that they captured in two hours? I kind of fell into it and at one point, I decided I wanted to live an art life; I wanted to tell stories. I came to New York, and did what most people do - you become a PA and run and get coffee and pay your dues and learn until your opportunity comes.

... the man took my passport and asked me the purpose of my visit, I wrote in my daybook, 'To mourn,' and then, 'To try to live,' he gave me a look and asked if I would consider that business or pleasure, I wrote, 'Neither.' 'For how long do you plan to mourn and try to live?' I wrote, 'For the rest of my life.

I drug your ghost across the country, and we plotted out my death. Every city and memory we whispered "Here is where you rest." Well I was determined in Chicago but I dug my teeth into my knees And I settled for a telephone, sang into your machine: "You are my sunshine, my only sunshine.

I wanted to work with Barry [ Jenkins]. I am a big fan of his from Medicine for Melancholy years ago. Tarrell [Alvin McCraney] is my favorite playwright. I will do anything he asks. The characters were so clearly drawn and three dimensional. It was an easy thing to say yes to.

People talk about grief as if it's kind of an unremittingly awful thing, and it is. It is painful, but it's a very, very interesting sort of thing to go through and it really helps you out.

One has the impression that something is stirring inside [photographs] - it is as if one can hear little cries of despair, gémissements de désespoir... as if the photographs themselves had a memory and were remembering us and how we, the surviving, and those who preceded us, once were.

Agosins poetic language engages the reader in a mesmerizing journey of inward reflection and exile.

The road through grief is a rocky one. Traveling along it requires courage, patience, wisdom, and hope.

Photography is an elegiac art, a twilight art. Most subjects photographed are, just by virtue of being photographed, touched with pathos.

Since I hold no judgments against my characters, no matter how heinous they might seem, I present them as real people with their own moral centers. We might feel those moral centers are mis-calibrated, but they are there and are the rudders that propel them. This makes reading my work a visceral roller coaster, 'cause the reader must embark on the journey of the protagonist equipped only with his or her own moral center.

Sometimes -- she knows this from her own life -- to get to the other side, you must travel through grief. No detours are possible.

No matter how tight the shot is, if I'm narrating it too much, there's a barrier between you and the experience, because the process of reading a book, or watching a movie, or watching a play is that you're watching a dream.

Because of the influence of the cinema, most reports or stories of violence are so pictorial that they lack content or meaning. The camera brings them to our eyes, but does not settle them in our minds, nor in time.

A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here."