C. S. Lewis Quotes

I always look at people and think how I would cast them.

Poets are always taking the weather so personally. They're always sticking their emotions in things that have no emotions.

When I write about animals, I use anthropological techniques and the language you would use for a person. You don't have to anthropomorphize animals, just acknowledge their individuality.

You're not a woman," he said finally. "You're the Grim Reaper with red hair!

I got into Shakespeare and all of that stuff in high school and then got out of it because it got too complicated. But all of those things just helped me to put words together. It gave me a different perspective.

In my own work, when I start off writing a scene, I don't know which physical details are going to turn out to be meaningful. But, inevitably, certain images will stand out - you start to decide which ones are important as you go.

I like to borrow forms and quotes and use a lot of allusions, in both poetry and music.

Lyrically, the most important thing for me is, how can I tell a cohesive story?

You have to be very specific with the suggestions of how you want to show things, not just with dialogue but also place and mood. I write all of that as very vivid guidelines so directors can come in and do what they will with them.

I've always looked to that play, 'Virginia Woolf,' for a cue - as far as any cue I might need as an actor for inspiration or as a writer.

No matter what kind of writing you do, it's always the details that make the story.

There are the tears of rage when books get praised when they're so obviously garbage. But then there are so many more that continue to move me: the end of 'Paradise Lost,' 'The Ruined Cottage' by Wordsworth, Prospero's 'Our revels now are ended' speech near the end of 'The Tempest.'

Acting - you're taking someone else's visions and someone else's inspirations, and it's up to you to portray that to everyone watching the film.

'Alphabet' by the late Danish poet Inger Christensen. It's a book-length abecedarian poem. It's an activist text but also a portal to wonder.

Annabeth sat up and glared at her ankle. "You HAD to break," she scolded it. The ankle did not reply.

we seem determined to give human qualities to objects and content to treat each other as things.

Until it seems the whole city will be covered with gold pollen shaken from the bell-towers, lilies plundered with the weight of massive bees . . .

Weave, weave the sunlight in your hair-

The earth has a mouth?” Buckley asked. A big round mouth but with no lips,” my father said. Jack,” my mother said, laughing, “stop it. Do you know I caught him outside growling at the snapdragons?

The tree looks like a dog, barking at heaven.

You think we shouldn't anthropomorphize people?

Every city has a sex and an age which have nothing to do with demography. Rome is feminine. So is Odessa. London is a teenager, an urchin, and, in this, hasn't changed since the time of Dickens. Paris, I believe, is a man in his twenties in love with an older woman.

It was a smooth silvery voice that matched her hair. It had a tiny tinkle in it, like bells in a doll's house. I thought that was silly as soon as I thought of it.