Quotes About Interpretation

Slightly forgettable movies can sometimes make great musicals.

In many ways, playing a real person is slightly easier because you have a road map. When you're playing someone fictitious, there's myriad ways in. With a real person, there's boundaries, and that sometimes makes the work easier.

I make my songs slightly abstract so that people can interpret them their own way. I think that's a lot more special, so you can hear a song and think, 'I feel exactly that way,' even if it wasn't written for that feeling.

As an actor, when you want to capture the spirit of the character, and the character exists in all of the iterations slightly differently, you work towards getting a sense of what the creators wanted to do, you know? Then, you work off of that.

There's something about doing Shakespeare with a single gender, whether it is all-male or all-female, that opens up certain possibilities. You are able to throw the behavior of the men into a particular relief and be playful within a slightly larger-than-life way with it.

Sometimes how I explain myself to the media can come across in a slightly different way to how I would mean to say things.

I did work more realistically: I used real anatomy, faces with expressions - not Dick Tracy with his one slip of the mouth and that's it, but actual expressions on the faces that made the characters look like they were saying what was in the balloons.

Children's literature - the product of adult guesswork - often fails to account for its audience's slippery grasp on the world.

Civilisation is slippery, the word has multiple and contested meanings.

There's a slippery slope in regard to authority. If you say that the history in Genesis is not true, then you can just take man's ideas as true. When you go outside of Scripture, why shouldn't you just reinterpret what marriage means? So our emphasis is on the slippery slope regarding authority.

In high school I was very much involved in poetry. You cannot read a poem quickly. There's too much going on there. There are rhythms and alliterations. You have to read poetry slow, slow, slow to absorb it all.

I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.

People started saying, 'Oh you know, he's quicker than he looks', and I'm like, 'What does that mean? Do I look slow, or I'm not really sure what that means.

We paint a slow picture. You can see the brushstrokes. We don't get to the point, and sometimes when we do, our readers don't notice, in fact. It's so couched in nuance, it can fly right over a person's head. 'What was that you said? I couldn't quite make it out.'

People probably perceive me as a bit boring because I am a little slow in the humor department, but it's just hard for me to get jokes when they're told in English. I am always the last one to get it.

I think so many things look like a penalty in slow motion.

When you write, you take the ball and you hold it up to the light and you turn it slowly, and let people draw their own conclusions. And try to bring empathy to all sides of the equation.

Words are a commodity in which there is never any slump.

Most experiences are either sensual or intellectual. Chamber music, played by a small group so the listener can follow what each player is doing, is both.

My English is closer to the literary English, and I'm not very familiar with jokes in English or with, you know, with small talk in English.

'An Obedient Father' is perhaps the novel that, some might say, Arundhati Roy had wanted to write when she wrote 'The God of Small Things.'

I think it's the small things, the smaller episodes and details that I linger on and try to draw meaning from, just personally.

They do say, the smaller the feet, the better the dancer.

A 300pp novel can easily become a 200pp novel by printing with smaller type; a 100pp screenplay can potentially become a film of between 60-140 minutes in length; a 200pp stage play could be performed in anything from 30 minutes to four hours. For all these media, the script length is agnostic to the final work.