Sarah Weinman Quotes

There was something to me that was really compelling about that woman, already knowing she couldn't get pregnant. When I made that movie I was maybe 24, and to be 24 and already know you can't get pregnant, that was really interesting to me.

I found 'The Twin' sitting on a coffee table at a writers' colony in 2009. It carried praise from J.M. Coetzee. That seemed ample justification for using it to avoid my own writing. I finished it - weeping - a day later, and I've been puzzling over its powerful hold on me ever since.

I remember reading 'Catcher in the Rye,' but I don't think I got it.

I picked up my college copy of 'The Great Gatsby' in an attempt to recover from the movie and was interested to find out what I'd underlined. The answer was basically: everything.

As a young man, Yeats spoke to me in a way I could understand. Shakespeare I couldn't understand, but Yeats I could. It was his subject matter and also I really admired the way he put his personal life on the line.

I think 'The Handmaid's Tale' always had that power since it was written over 30 years ago. This extraordinary piece of feminist literature had its fan base then, but TV has given it an enormous reach.

In college, I used to underline sentences that struck me, that made me look up from the page. They were not necessarily the same sentences the professors pointed out, which would turn up for further explication on an exam. I noted them for their clarity, their rhythm, their beauty and their enchantment.

Literature speaks with everyone individually - it is personal property that stays inside our heads. And nothing speaks to us as forcefully as a book, which expects nothing in return other than that we think and feel.

We buy a copy of 'Gravity's Rainbow,' say, and we carry our copy home. We open it; we fall into it. And it is here that the word 'copy' fails. Because what I experience when I read 'Gravity's Rainbow,' or 'Beloved,' or 'The Moviegoer,' is not at all a 'copy' of what you experience when you read the same novel.

I think I always dreamt of having a brand that really was represented globally, that had a voice - that had a clear voice and a clear vision that made women feel great about themselves. That really spoke to women on a personal level. And that women could wear.

The Nature Lover is not looking for mere facts but for meanings, for something he can translate into terms of his own life.

The movies I used to watch, I remember always being so angry because I felt like I, as a teenage girl, was never truly represented in a film. There were always bits of me that were represented - I'd watch 'Juno' and be like, 'Oh, well part of me is like that, but it's still not the whole thing.'

I don't see any reason why young women shouldn't relate to me and have that connection with my music.

'Dept. of Speculation' contains numerous enviable lines.

I think people will discover themselves in 'Ankahee.'

A large part of the appeal of this novel when I was lucky enough to stumble across the story idea for 'A Head Full of Ghosts' was that I'd finally be writing a horror novel. In a lot of ways, the book is both my criticism of and love letter to horror.

I felt that 'English Vinglish' was tailor-made for me since I found my character Shashi so relatable. Her simplicity and sensitivity attracted me towards the role.

To tell you the truth, while I do enjoy the grand-scale elements, it's the personal scenes, the character moments that I really find satisfying. That's where I get to delve into the characters' minds and hearts. That's where they become living, breathing beings to me.

Ultimately, I don't think you can be a character who's completely alien or divorced from your own personality. It's probably true of every writer - it's probably true of every filmmaker, every songwriter - that, ultimately, every character you create is a facet of yourself.

I think, fundamentally, Man Repeller is a voice for women to connect with; they can come and try it on for size and be a part of it, and if it works for them, they take it with them.

For me, music is this incredibly cerebral trip. You turn on the radio or put on a record, and it's your song, it's what you see.

Nothing we read can import new or foreign feelings that we don't, in one form or another, already possess.

The very best design, I feel, is that which resonates so deeply that people can't help but discover something within themselves when they see it.

I would say that 'After the Storm' is much more informed by my personal life than my other movies.

I really hope that men read 'The Power' and watch 'The Handmaid's Tale' and read 'The Handmaid's Tale.'