Nicolas Roeg Quotes

You only need to look at Jane Austen to see how crossed wires can become a defining aspect of romantic life. Then again, if the course of true love ran more smoothly, it would have a terribly detrimental effect on our cache of love stories.

Basically it's the core story. About a guy having an affair with the mother of the girl he falls in love with.

I don't think people are ever going to a place where they're like, 'I'm over stories about character and love.'

To wrap up the idea of 'Parade's End' in a sentence or two, I would say it's a love story in which we see a man with two women, and we know what's attractive about them. And we know why and what they feel about him.

Before 'Wings' came out, I told a few people that at the end of book one, readers should think Laurel made the right choice. Then, at the end of 'Spells,' they should understand why Laurel made the choice she did.

First and foremost, I consider myself a storyteller. And I'm endlessly fascinated with people, with what they do and why... and how they feel about it. Which means I'm interested in romance fiction. I was drawn to it, as both a reader and a writer, at the very beginning of my career. It's my kind of storytelling.

I didn't think I was doing anything bad by falling in love.

It's an interesting plot device to enter in a third wheel - it always helps raise the stakes for all parties involved. But often, those characters can be one-dimensional.

There are so many romantic comedies made, but very few dramas or love stories. And with a love story, you have to take time to develop three-dimensional characters.

My favorite movie is 'Closer' and 'Love Story.'

Well, love is confusing at all ages, but especially when you're 17.

If you have to be the antagonist, you often have a lot more creative powers. You have a lot more color to you.

The second song is called 'Easy As Life,' which really describes the complete conflict of the whole story, her struggle of being in love with the enemy and also being in love with her people.

I love romantic films and love drama. Any film that has romance or romantic element is my comfort.

When I started to write 'Crazy Thing Called Love,' I wanted a conflict that would not only bring Billy and Maddy together in terms of proximity and give them a common goal but that would also drive a wedge between them. And nothing fit the bill quite like the arrival of some children.

The thing that I love is human behavior - why people do what they do, who they are, and the choices that they make - and that has to always be plot driven.

Every book should have a romance.

I, as a fan of numerous TV shows and movies, know that people mess up. The characters that we love are not always going to act in the ways that we want them to. That's what makes them interesting.

I could go my whole life and say, 'I'm not going to do anything with a love triangle,' but whenever you have a romance, there has to be some obstacle, and even the dumbest romantic comedies have a love triangle or something.

We love a tale of heroes and villains and conflicts requiring a neat resolution.

I prefer drama; I think character-driven drama is my favorite kind of stuff to go watch, and I like being challenged by that kind of stuff in that way.

The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.

I'm very fond of doing movies where men fight over me. I don't get to do enough.

Cafe De Flore speaks of love, its joys, its pains and its dramas - to love and to lose. This story upset me, I was upside-down, in the depths of myself.

For me, it's nice to have a character who can never find love and have that be the running theme, but I think when you open the door to a story line about relationships, you open the door to another realm of comedy.