The way I sort of approach my work is that the historical and socioeconomic and cultural worlds that the music is exploring dictate the visual experience and the way that we approach it specifically on film.
Everything in New York seems to merit preserving. If it's not historical, it's personal. If it's not personal, it's cultural. But you can't. You can't save everything. You just have to pack it up in your brain and take it with you when you go.
I went to grad school with the grand plan of getting my Ph.D. and writing weighty, Tudor-Stuart-set historical fiction - from which I emerged with a law degree and a series of light-hearted historical romances about flower-named spies during the Napoleonic wars.
People always ask me, 'Why so many historical dramas?' Because those are the best roles I get to play, and I get to play heroes in those roles.
The first book I sat down to write was an historical romance. It was really bad and thankfully no one ever saw it.
I found that Scottishness and Englishness are actually strong, instinctive things, whatever the historical reasons. Even the accent changes - just two inches across the border.
Risk models are a substitute for historical knowledge, because they tend to work with just three years' worth of data. But three years is not a long time in financial history.
When depicting Asian people in movies, books, and television or as historical figures, it's more important to humanize them and give them all of the dimensions of humanity, and that includes sexuality. Ascribe the human the full range of human qualities.
I turned to historical films because they pass censors more easily.
Most people's historical perspective begins with the day of their birth.
I keep waiting for the day in which everyone who loves 'Downton Abbey' will realize they were actually watching a historical romance novel.
For complicated historical and political reasons, we associate 'poor' in our public consciousness with 'black.' Terms such as 'welfare queen' and 'culture of poverty' became associated uniquely with the social maladies of African Americans in urban ghettos, despite the fact that poor whites outnumbered poor blacks.
'All the Stars in the Heavens' takes place during the golden age of Hollywood, around an imagined story about Loretta Young; Clark Gable; Alda, a young woman with a secret who is preparing to become a nun but is cast out of her convent; and the scenic artist she meets on the set of 'The Call of the Wild.' It's a big, lush historical novel.
I wanted to be a novelist from a very early age - 11 or 12 - but I don't think I ever thought I would write historical fiction. I never thought I might write academic history because I simply wasn't good enough!
Any Southern nationalist movement, especially one that wraps itself in the Confederate flag, is going to be viewed with suspicion, given the historical record.
In the 1970s, as historians became enchanted with microhistories, economists were expanding the reach of their discipline. Nations, states and cities began to plan for the future by consulting with economists whose prognostications were shaped by investment cycles rather than historical ones.
But we cannot just take this historical fact for granted. We must make it live.
For film, I think because it's more detailed, and especially with historical material, you really have to find the right projects. Speaking as a mixed-race woman, there aren't many historical stories about people like me. When people think of 'dual heritage,' they think it's a modern concept, but really it's not.
I'm not a prophet; I can only use historical reality to come to a view of the future, and my view is that Africa will return to being African and not European. The advent of colonialism was foreign to the country itself, but it will return to what it was before the Europeans arrived.
If anything, Brown is more oriented towards the other side of the Atlantic than Blair. Most of his reforming ideas and intellectual influences seem to come from the United States, and in a recent speech he went to great lengths to emphasise the historical affinity and shared characteristics of the U.K. and the U.S.
We have gotten away from this double aspect of either putting the character back into historical events or of making a historical event of his very life.
Shakespeare is in many ways an African writer and 'Hamlet' would be seen as a very accurate historical saga about an African kingdom.
It's still funny for me to think of myself as someone who writes historical fiction because it seems like a really fusty, musty term, and yet it clearly applies.
I feel that historical novelists owe it to our readers to try to be as historically accurate as we can with the known facts. Obviously, we have to fill in the blanks. And then in the final analysis, we're drawing upon our own imaginations. But I think that readers need to be able to trust an author.
Over the years, more than one reviewer has described my fantasy series, 'A Song of Ice and Fire', as historical fiction about history that never happened, flavoured with a dash of sorcery and spiced with dragons. I take that as a compliment.
I couldn't resist hiding some historical details and a few clues relevant to the plot and characters of 'A Discovery of Witches' throughout the pages of the novel.
There are a lot of historical novelists who do the research about the clothes and maybe even the eating utensils, but they're basically taking modern people and putting them in old drag - it's sort of the 'Gone With the Wind' approach.
Science fiction is like a blender - you can put in any historical experience and take influences from everything you see, read or experience.
My final historical romance came out December 2005. While I enjoyed writing medieval romances, I was also dying to write something with more edge.
When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.
I'm fascinated by failure, and I'm fascinated by finality. Shakespeare's historical plays are more universal than his comedies because they relate to the finality of life. Without finality, life would not be beautiful.
We must teach our people the greatness of China's historical culture. In our educational program we must stress Chinese history and geography so that all may know and appreciate China's civilization of five thousand years and the far-flung boundaries of our ancient race. This will engender a greater faith in our own future.
When writing about historical characters I try to be as accurate as possible, and in particular not to misrepresent the view they held. With a real historical figure you have to be fair, and this is not an obligation you have in dealing with your own creations, so it is quite different.
When we find a ship, we turn it over to the state or federal government. It's purely historical. I've never made a dime on any of it.
Usually, historical revelations come from days of legwork, ploughing through piles of letters and papers in archives or even private homes, looking for the telling phrase or letter that someone else has missed.
Liberals want to amend our country's history to eradicate the role of Christianity in America and chisel references to God or faith from our historical buildings.