Quotes by Steven Knight

Steven Knight

[2015] it’s a time that there’s a clash of ideologies, similar to the Cold War. I think that a story like this has been waiting to be told, and I think it’s a fresh look at the whole earth-shattering business of the collapse of the Soviet Union.

Thinking

Waiting

War

[Allied] got the attention of (director) Bob Zemeckis and Marion Cotillard. I’m glad I waited. If it had been made 15 years before, who knows how it would have looked, but it’s got the best possible cast, director and everything. It’s been fantastic. It was worth waiting.

Attention

Waiting

Years

[Allied] meant to be a film that’s a bit different. It’s roots are in the ’40s and ’50s, and that sort of filmmaking style.

Different

Roots

Style

[Taboo] has been exactly the same as working with the BBC in that creatively they do that precious thing which is to only make a comment when a comment needs to be made.

Made

Needs

Precious Things

A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it.

Thinking

Two

Writing

A creative person can suddenly realize it’s not 90 minutes. They haven’t got to do three acts, they haven’t got to do the arc, but they can do other things. I think just as novellas turned into novels, I think that television series can begin to have that depth.

Creative

Depth

Thinking

I don’t think that jealousy and love and hate and anger and all those things have changed in the past 200 years – people just express themselves differently.

Hate

Past

Thinking

I find the best way to make things real is to just put two characters into a space and let them talk to each other in the way that they would talk to each other, and then see what they would say. I know it sounds weird, but that leads the plot and takes you in another direction.

Character

Real

Two

I like to create a character where you believe, deep down, that they don’t really care if they live or die. That’s very liberating for the character because, if the character is prepared to die, then they can do anything. It’s impossible to stop them.

Believe

Care

Character

I must have been about 11 when I read the book Bury My Heart at Wounded Knee, which I read, over and over again.

Book

Heart

Knees

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Actors

America

Attention

Believe

Block

Bob

Bombs

Book

Boys

Brilliant

Camels

Care

Character

Cinema

Class

Creative

Cutting

Depth

Different

Directors

Discipline

Easier

Falling In Love

Fantastic

Film

Fun

Girl

Gone

Hate

Heart

Helping

Knees

Light

London

Long

Looks

Luxury

Mad

Made

Memories

Needs

Odd

Oysters

Pages

Past

People

Plus

Politeness

Precious Things

Process

The Future Blueprint

Tool

The Home Therapist: Anti Anxiety

Tool

The Autobiography

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The Behaviour Diary

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The Dating Diary

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The Relationship Therapist

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Quotes by Steven Knight

Steven Knight

[2015] it’s a time that there’s a clash of ideologies, similar to the Cold War. I think that a story like this has been waiting to be told, and I think it’s a fresh look at the whole earth-shattering business of the collapse of the Soviet Union.

[Allied] got the attention of (director) Bob Zemeckis and Marion Cotillard. I’m glad I waited. If it had been made 15 years before, who knows how it would have looked, but it’s got the best possible cast, director and everything. It’s been fantastic. It was worth waiting.

[Allied] meant to be a film that’s a bit different. It’s roots are in the ’40s and ’50s, and that sort of filmmaking style.

[Taboo] has been exactly the same as working with the BBC in that creatively they do that precious thing which is to only make a comment when a comment needs to be made.

A commission and an original are two different things, and both have their virtues and vices. A commission is a bit more collaborative, in that you outline the story that you think should be told, and then you write it.

A creative person can suddenly realize it’s not 90 minutes. They haven’t got to do three acts, they haven’t got to do the arc, but they can do other things. I think just as novellas turned into novels, I think that television series can begin to have that depth.

I don’t think that jealousy and love and hate and anger and all those things have changed in the past 200 years – people just express themselves differently.

I find the best way to make things real is to just put two characters into a space and let them talk to each other in the way that they would talk to each other, and then see what they would say. I know it sounds weird, but that leads the plot and takes you in another direction.

I like to create a character where you believe, deep down, that they don’t really care if they live or die. That’s very liberating for the character because, if the character is prepared to die, then they can do anything. It’s impossible to stop them.

I must have been about 11 when I read the book Bury My Heart at Wounded Knee, which I read, over and over again.

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