Medium Flexibility Quotes

Just as a fan and a consumer, I think less of actors as one thing and belonging to one genre or medium. People do all kinds of things.

When you think about such fine actors as Maggie Smith or Michael Gambon, they do all mediums. I think it would be quite sad and a bit dull just to have to stick to one. I like all of them.

It doesn't matter what medium I perform, I just love to perform in general, if it's good work.

I am delighted just to work on a good movie, no matter what the medium is.

In the past, if you did film, you couldn't do stage, and if you did film, you certainly didn't do television. You had to pick what you wanted to be. Now it seems like we can bounce around, not only between genres, but between mediums, and I like that. I like change and I like a good story.

I think, television and comics, what's appealing to me as a writer about both of those mediums is that they allow you to sort of let the story unfold in its own time as opposed to trying to compress it into a two-hour discreet unit of narrative.

Personally I don't think there's any real intrinsic difference between comic books, movies, theatre, novels. I know there's sure to be some differences of some sorts. I've worked on novels, films, and video games, and in an adaptation, I guess one of the issues is that I have to be in love with the thing I'm adapting before I do it. So that can cause a problem. You can be too scared of it. You could be too reverential. But at the same time you want to try to capture this thing that you're obsessed by. You're fixated for a reason. What's the reason? You try to get ahold of it.

I feel comfortable with either digital or film - the director and the project should determine the course of choice.

I don't think one should be a slave to one medium.

For me, I wanted to be an actor without being bothered about the medium. So when the opportunity came my way, it did not really matter on which medium I am working.

I'm drawn more to quality, and so if the quality is in television, I go in that direction. If it's in film, I go in that direction. But I don't limit myself or discriminate against any of the mediums.

I have a great little camera, and I had a theory that if the story is interesting, it doesn't matter what medium you shoot it on. You just have to make a good film.

Because I don't do stand-up, radio has always been my equivalent, a place to stay in connection with the public and force myself to write every week and come up with new characters. Plus it's a medium that – having grown up with it and putting myself to sleep with a radio under my pillow [as a kid] – I love. No matter what picture you want to create in the listener's mind, a few minutes of work gets it done.

I never say I have a preference for one medium as opposed to another.

I was always a filmmaker before I was anything else. If I was always anything, I was a storyteller, and it never really made much of a difference to me what medium I worked in.

I mean, the only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.

It's such an extraordinary supple medium that you never do quite know what paint will do.

My approach to 'Eastenders' is the same as my approach to film and the same approach to theatre. Whatever I do, I use the same skills and tools.

The bad things about theatre get balanced by the good things in film and vice versa. So to tell you the truth, I love it when I can go back and forth - it feeds different parts of you and exercises different muscles.

I never feel there's anything I can't do with comics. There are certain things in comics that you can't do in any other medium: for instance, in Mister Wonderful, Marshall's narration overlaps the events as they're going on. That would be difficult in film; you could blot speech out with a voiceover, but it wouldn't have the same effect. That's always of interest, to see what new things you can do in comics form.

Direct address has been a consistent tactic in my work, regardless of the medium that I'm working in.

You'd never be able to convince someone to give you money to do a bilingual story where you're not translating half of it - you'd drive people crazy. But in comics, you can do whatever your heart desires.

I'm always interested in using comics in different ways.

The difficulty with film is you always have to consign a story to being a certain length, whereas with a book you don't have budget constraints; you can cast it yourself.

I am not interested in genres. I am interested in doing the best work I can in whatever medium.