There's a big link between trains and film. One of the first filmed objects was a train. The clickety-clack of the projector and the clickety-clack of the train are similar. There is the idea of the voyage - every voyage is a story. I wonder if film would have been invented without the train.
Don Quixote is one that comes to mind in comparison to mine, in that they both involve journeys undertaken by older men. That is unusual, because generally the hero of a journey story is very young.
Travelling is like a novel: it's what happens that counts.
Life, as the most ancient of all metaphors insists, is a journey; and the travel book, in its deceptive simulation of the journey's fits and starts, rehearses life's own fragmentation. More even than the novel, it embraces the contingency of things.
I really like how the characters always has to go through some type of long journey that's like a crazy struggle. And these anime shows give women power. She's always the queen or somebody that you cannot beat - I love that.
That's the main thing that attracts me - characters who have big journeys. I like playing those people.
The joy of a road movie is its very simple narrative nature, which is that you know you're going to go through different places and you're going to meet new people. At the same time, you have to not make it feel too obvious and too crudely episodic.
When you begin a play, you're going to have to spend a lot of time with those characters, so those characters are going to have to be rich enough that you want to take a very long journey with them. That's how I begin thinking about what I want to write about and who I want to write about.
One of the things that makes the Bourne movies so exciting, I think, is you do get to go on a journey. Generally, through the franchise, that journey is in Europe.
I believe that every life is a collection of individual 'journey stories.'
I love doing a series because you get to see changes in a character and see her grow. It's a journey with change, and you don't get to see that long-term type of development with just a film.
When sequencing an album, you kind of have to look at it like you're making a movie with different acts, and you have ebb and flow, peaks and valleys. You want it to feel like a journey or a good movie or book where you can actually feel very satisfied at the ride at the end of it.
A work of fiction should be, for its author, a journey into the unknown, and the prose should convey the difficulties of the journey.
There's something so satisfying about road trip movies - and books!
It's so rich as a trope - the whole idea of the road and it being in terms of language, being an active experience.
When you go on a road trip, the trip itself becomes part of the story.
