In Slumdog Millionaire when you are immersed in the point of view of children in the slum and the bustle of the city, the handheld camerawork is amazing. A handheld camera is perfect for establishing point-of-view and for instilling the feeling that you are there.
If I'm collaborating with an artist I like to give them my point of view and if they don't want to take any of my recommendations it's fine, but it's hard otherwise.
My point of view comes more from the literature I've read and the comedy of the era. When I was a kid, coming across National Lampoon Magazine, that was a big thing. I suddenly felt like there were other people that felt the way I did, and there was a way of expressing and communicating this worldview.
You take something from your past that you're somewhat ashamed about and you write about it from another character's point of view.
In the last war, people became vocal from the right-wing point of view: if you're liberal, then you're a traitor.
The funny thing is that in Bosnia there are no words that are equivalent to fiction and nonfiction. From the storytelling point of view, the difference is artificial.
I think it's interesting, from a creative point of view, to have witnessed the loss of consciousness on a national level and on a cultural level - Bush had 91 percent support in the polls after 9/11. We wanted to kick some ass!
I never contemplated. I just went in there and did my acting. I never thought, "What's the character actually feeling here? What's he trying to get across?" And never looked at it from that classically trained actor's point of view.
I suppose the short chapters and differing narrative points of view are quite "cinematic" devices, which came very naturally to me.
You witness the artists acting as witnesses, but they provide a point of view that's less monolithic. It's less official in a certain way. Many artists are speaking in the first person singular, as a reaction to dubbed-over media commentary. The thought is: "Enough with how we're represented by the media. Let me tell the story."
Many of the artists are not pretending to have an objective point of view. They're revealing the subjectivity.
I used to teach writing in a federal prison, and for my students' benefit, I would liken the narrative use of this highly personal point of view to a boxer's getting in close to his opponent.
There's a kind of mystery to our being and from my point of view, regarding my own parents and their parents, I'd as soon let it lie than find out who my mother's father was.
From my point of view, why shouldn't I work in every possible mode, to see if it's viable? "Los Gigantes" would not have worked as a straightforward, naturalistic tale. Part of the fun of it is that it's so preposterous and yet at the same time, it could have happened. Think of eugenics. Hitler certainly would have been doing it if he could have.
The DNA of the novel - which, if I begin to write nonfiction, I will write about this - is that: the title of the novel is the whole novel. The first line of the novel is the whole novel. The point of view is the whole novel. Every subplot is the whole novel. The verb tense is the whole novel.
Now, as a reader, you shouldn't feel the decisions the writer makes about this DNA, or it would be boring beyond belief. But, as a writer, you're struggling to make these decisions. What should the title be? What's the first line? The point of view? And the struggle with the decisions is because you're trying to figure out WHAT IS THE NOVEL, WHAT IS THE NOVEL?
I realized early on in writing the book that it needed to be from a family point of view, and that nobody outside the family would weigh in. And then well into writing it, the question became how to balance the perspectives; how to switch between chapters.
There's always something extremely personal in the songs, but I may change the point of view from what I actually experienced.
What I remember most from reporting both the stories are the women. Going into the first piece, I didn't have a super fixed idea about abortion. I'd helped a high school friend get to a doctor once. I always assumed that what a woman did was up to her. But I could also see the pro-life point of view that human life should be sacred in whatever gestational form.
I don't judge my characters, and that's my job not to judge them. It's my job to treat them with respect and to just look at it from their point of view.
I think I realized that Dave Barry was funnier than I'll ever be, and he made no attempt to make any actual points. He had a general libertarian point of view, but in general, he just liked to make jokes.
I've always been a relaxed person on set, but I think the main thing is I think about it from an editing point of view way more than I did before.
I admire Joyce Maynard a lot, specifically her memoir "At Home in the World." Her writing is beautiful and fascinating and seemed to give me validation to the idea that I could write validly in earnest about my life with (my) very feminine point of view, and also that I could unapologetically explore the bad traits of my character (which I find to be more interesting to explore than the good traits), as well as explore other concepts that interest me like private vs public personas, age gap relationships, etc.
I feel like few things are more successful at portraying honest emotions/experiences. There also just seems to be a certain feeling/mood that I respond well to. I feel similarly about the artist Kahimi Karie and the films "An Education" and "Marie Antoinette." Anything with a strongly and unapologetically feminine point of view I tend to be interested in.
Basically, I feel inspired by any artist that seems to want to introduce the world to their likes and perspective rather than trying to shape their interests and point of view to fit better into the world around them.
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