Michael Cadnum Quotes

To me, there was something moving about the idea of telling the story of a lady who is, in a way, a forgotten character - someone who would normally be a secondary role in a movie.

Game designers are obsessed with emotion. How do we create the emotions that we want gamers to feel, and how can we really make it this intense, emotional experience?

When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.

That larger story in 'Salvage the Bones' is just about survival, and I think that, in the end, there are things about this novel and about these characters' experiences that make their stories universal stories.

I think people are getting into these 'Empire' songs because of the emotional investment they have in the characters. You kind of feel like you know the songs already because you just watched them play out in front of you with these characters.

What I'm doing in the work I do, I prefer not to just have a series of jokes. It's nice when audiences can connect with the characters as well.

I think, ultimately, if you create characters that people like and can relate to, your characters are grounded on a human level even if your cars are not.

Certain characters get to me and stay with me for a while.

You can hear my opinion on various subjects, but telling my story is the most authentic thing I can do. There's nothing more powerful I can share with an audience.

They said if I could deal with the pain, I should play. So, I did, and for some reason, I started hitting. It was a weird thing. I don't know if it was because I couldn't do too much, and I was just trying to stay up through the middle and not hurt myself.

I think what I look for in a script, it's the relatability quotient that matters the most.

I'm focused on finding characters I connect to.

On the sets of the movie 'Manto,' I found that one of the challenges of embodying real-life stories is the mixed medium of facts and imagination, and how one's collage of experiences colour ones representation on celluloid.

I never imagined while going through this horrifying illness that I would write a book or that it could ever be a movie.

I feel I have been playing all primary characters. And if your character forms a connect with the audience, it doesn't matter if you are playing only the main solo lead or a second lead.

And for better or worse, a story like 'Pieces of April' is the kind of story I'm supposed to tell. The kind of story that makes you laugh as much as possible but also breaks your heart.

Writing about conflict has provided these dramatic opportunities to talk about really substantial moments in a person's life. I'm not writing about superheroes; I'm writing about ordinary people.

I think theatre must be an event, an experience, not compete with cinema. When people are able to download stories on Netflix, you need to give them a good reason to jump into the car and drive two hours. It has to be something you can only see in the theatre, and it has to be worth it.

The joy had been ripped away from me, but deep down, I loved the competition floor. And I thought, 'Gymnastics is literally the only thing I have.'

At Norwich, I was injured, and then I went to Leicester, and I found myself on the bench. But I still used that to my advantage as an experience - I had to do that here at Spurs for a while, be on the bench and wait for my chance. It's definitely something that's helped me with my game.

'Freaky Ali' is not a heavy film. It's a simple but inspiring film. It will inspire those who want to go from zero to hundred. People who have made an effort to achieve success from nothing will be able to connect to the character.

Injuries aren't anything foreign to me. I am used to overcoming illness and injury; you can't complain about it. When you're standing up there on the blocks, it doesn't really matter: it's all about the next minute.

I like it when I'm watching a movie which has a harmonious feeling to it. It's as if the environment puts you in the mood for the characters and story you experience.

I feel like 'Amelie' is very much an extension of me. She's a contemporary woman who sees the world through her imagination.

My goal is for 'Heavy Rain' to leave an imprint in you and change a little bit of who you are and how you see things. Maybe the key characters and key moments will leave a trace in you. If you don't have this ambition as a video-game creator, then maybe you should do something else, because this is what creation and art is about.