Steven Yeun Quotes

I think zombies would fit in anywhere. You can tell any story, and put zombies in it. I don't know how I'd find the backing, but I think it'd be great to make a zombie gangster movie.

Turning a zombie pandemic into a generic disaster movie robs the zombies of their dirty, nasty edginess and robs the disaster of its epic scope.

You, Me and The Apocalypse' is epic!

The last element in drama is high stakes. War, of course, is life and death - survival, not only for the story's characters, but often for the society itself. That's why I'm drawn to stories that are built around wars, even if they're not technically "war stories."

I think the possibility of continuing on a comedy is greater than a drama.

Steve MCQueen created an entire family to tell one man's tale and I am delighted that so many of this family have also been recognised today. I am hugely grateful to the Academy for this great honour, and, of course, to Solomon Northup for sharing his story through his breathtaking book.

But I begin to think the chief difficulty in writing a book must be to keep out what does not belong to it.

I think the best writers are voracious readers who pick up the cadences and the feel of narration through a number of different books. And you begin by maybe copying the style of writers that really knocked you out.

I caution writers all the time to slow down and pay more attention to the work in front of them than to the end result. I don't think you write one book and get anywhere. I think you write five books and then maybe you are finally on the right path.

It is very linear storytelling, and I think that's not so much the fashion. I was watching a new drama the other night which was extremely non-linear, where you flash back and flash forward in ways that certainly keeps you on your toes as the audience. There's not much of that courage with the storytelling in our Maigret film.

We always have the movies that are more toward real life, but they don't have that much drama or suspense, or we have the full of drama or suspense, but they're far away from real life. Always when I was watching a film, films with good drama, I was thinking, "I wish they were more close to real life." But when I was watching real life films I was thinking, "Well I wish it had more drama." I've tried, in the movies that I worked so far, to get these two things closer and closer to each other.

Don’t you think every face tells its own story? Like a book? More like a poem. If you study it long enough, you’ll soon find its meaning.

It's my experience that endings are never easy, and I think I'm not alone among filmmakers or writers in this.

To the question of writing at all we have sometimes been counselled to forget it, or rather the writing of books. What is required, we are told, is plays and films. Books are out of date! The book is dead, long live television! One question which is not even raised let alone considered is: Who will write the drama and film scripts when the generation that can read and write has been used up?

Miss Wynter, I think you should be the evil queen,” Harriet said. “There’s an evil queen?” Daniel echoed. With obvious delight. “Of course,” Harriet replied. “Every good play has an evil queen.” Frances actually raised her hand. “And a un—” “Don’t say it,” Elizabeth growled. Frances crossed her eyes, put her knife to her forehead in an approximation of a horn, and neighed.

When I'm talking to someone I think 'can I use this dialogue in a book,'" said Luis. "If the answer is no I try talking to someone else.

I am a voracious reader myself. I don't stick to one genre. My only criteria is that it's a good story. I try to bring that to my work because I think people can read your excitement about a story.

I looked at the world of books and just went, Oh my gosh, if I'm writing novels, I'm on the same shelves as Jane Austen and Charles Dickens and Petronius - whereas with comics, they've only been doing them for a hundred years, and there's stuff that nobody's done before. I think I'll go off and do some of the stuff no one's ever done before.

That's a long way of saying no, I'm always too bound up in thinking about the characters in whatever I'm working on and trying to make good to dwell on characters from previous books.

I try to write books that are different from the books I've already written. I think one of the thing I really try to do is reinvent how a novel can be written.

Theatre is poetry that rises from the book and becomes human enough to talk and shout, weep and despair

I think my biggest problem, though, at least in drafts, is not repeating myself. After eight books I get worried that a character or piece of dialog might be too much like something I've already done. So it's a challenge to keep it fresh.

I think people are gravitating towards these period dramas because I think they're looking for a simpler time.

Any story that gets us thinking, and particularly young people, thinking why? Whether it's as a result of reading the book, or coming out of the theatre or the cinema, I think we should just simply be asking the question 'why'? Why did it happen to those people? Was it necessary? And anything that gets us thinking like that is really important.

Fiction allows for moral questioning, but through the back door. Personally, I like books that make you think - books you're still wondering about three days after you finish them; books you hand to a friend and say "Read this, so we can talk about it."