#R.R. Martin

[blogencenamais]

Milla Jovovich (Resident Evil) e o diretor Paul W.S. Anderson

estão de volta nas telonas nesta quinta-feira (17/04) !

Nas Terras Perdidas (In the Lost Lands.ALE/CAN/EUA,2025)

Uma rainha, desesperada para ganhar o dom da mudança de forma, toma uma atitude ousada: contrata a feiticeira Gray Alys, uma mulher tão temida quanto poderosa. Enviada para a selva fantasmagórica das Terras Perdidas, Alys e seu guia, o andarilho Boyce, devem enganar e lutar contra o homem e o diabo em uma fábula que explora a natureza do bem e do mal, da dívida e da satisfação, do amor e da perda.

direção: Paul W.S. Anderson (Monster Hunter)

roteiro: Paul W.S. Anderson, Constantin Werner

com: Milla Jovovich, Dave Bautista (Guardiões da Galáxia), Arly Jover (Blade: O Caçador de Vampiros)

[jeyne-arryn]

Phia Saban gave a wrenching, powerful, heart-breaking performance as Helaena Targaryen, Aegon’s doomed, haunted queen and mother to his children.

George R.R. Martin - NOT A BLOG: Blood, Cheese, and Grief (July 5, 2024)

[quotefeeling]

You were made to be kissed, often and well.

George R.R. Martin, A Storm of Swords

[thoughtkick]

I know what it is to love so greatly you can think of nothing else.

George R.R. Martin, A Storm of Swords

[georgescitadel]

I often get the question, “How do you write women?” or “How do you write a dwarf?” Some of that can be resolved by research or talking to people. I had a correspondence with a fan when I was writing the first and second books, long ago, who was a paraplegic, paralyzed from the waist down, and he gave me a lot of valuable insight about how to write Bran and what it would be like. That kind of information from other people, you can never duplicate.

- George R.R. Martin, Ideas At The House (2013)

There are things we all go through, but there are experiences that I haven't had, and when I'm writing about one of those, I try to talk to people who have had that experience. When I first had Bran crippled by his fall from the tower, I had one fan who was paraplegic, and he and I exchanged a number of emails about what it was like to be paraplegic because I could try to imagine that, but I don't actually know it. When I wrote the scene where Sansa has her first period, I talked to a number of women and asked, “What was it like to have your first period? Was it scary? Was it nothing? Was it painful? Tell me about it!” I got about 16 different stories that varied very widely. People who have actually been in combat, I talk to before the combat scenes, and that too varies widely. That's sort of interesting, and, of course, I've read a lot about that. There are some experiences that only women have had in our society, and when I tackle them, I try to consult with women.

- George R.R. Martin, NIFFF Masterclass (2014)

You do have to research the things that can be researched, and sometimes that involves books; sometimes it actually involves talking to people. Those are the trickiest things, if it's a human experience. I'll give you a couple of examples from Game of Thrones. When Bran gets thrown out the window and paralyzed. I'm not paralyzed, I don't have any close friends who are paralyzed, but I wanted to try to get that as accurate as I could, so I did a fair amount of reading about that. I also had a couple of fans who corresponded with me through email about the problems of someone who was paralyzed from the waist down and what it would be like. I also have a scene where Sansa, who is engaged to Joffrey but hasn't flowered yet—hasn't had her first period—so she can't be married by the traditions of Westeros, then has it and is eligible, by medieval standards as well as the standards of Westeros, to be bedded and wedded and bred. Of course, she reacts to that with considerable panic. But I also wanted to know what it is like, and that led to a number of embarrassing conversations with women I knew about: “When did you have your first period? What was it like? Was it painful? Tell me about it!” What I discovered was a wide variety of different stories. It's not always the same thing, so I had to try to make sense of that and do something that had authentic truth to it. Hopefully, I did, but human experience is variable. No matter how much you research, there will be somebody out there who had a different experience, and then they'll write you an annoyed email saying, “You got that all wrong. You don't know anything about that.” Well… okay. But I tried.

- George R.R. Martin, Author Event Series: Featuring Marlon James (2019)

[mooniism]

[hotdaemondtargaryen]

“We have various shows we developed that we shelved. HBO developed them. We hired them, we wrote scripts, and they decided not to proceed with them — for now. If it is made, I don't want to hire some other writer to have his version. I want my version. I want to get a director on it who loves the material and would be a great director.”

GEORGE R.R. MARTIN — recently about adaptations of his books.

[stay-close]

Some old wounds never truly heal, and bleed again at the slightest word.

George R.R. Martin, A Game of Thrones

[perfectfeelings]

The past remains the past. We can learn from it, but we cannot change it.

George R.R. Martin

[franzkafkagf]

RHAENYRA AND AEGON; SIBLINGS AS MORTAL ENEMIES

unknown, house of the dragon, ethel cain, george r. r. martin, natalie diaz, leonard cohen, julio cortázar, sophocles, helen oyeyemi, genesis

[shisasan]

December is a bewitching month. The grey of cold teeters on the edge of becoming the most enchanting blue.

George R.R. Martin

[quotefeeling]

You were made to be kissed, often and well.

George R.R. Martin, A Storm of Swords

[thoughtkick]

Some old wounds never truly heal, and bleed again at the slightest word.

George R.R. Martin, A Game of Thrones

[georgescitadel]

Interviewer: Can you give us an example of a character who stole the story and drove it in their own direction?

George: In the first book, there was a crucial point where an assassin tries to kill Bran in his bed, and he's defeated, and they get this very unusual dagger. The Stark family by then has split because Ned Stark has gone south with the king, and he's taken with him his two daughters, while Catelyn Stark, his wife, is still at Winterfell with her sons Robb, Bran, and Rickon, and many of the family retainers. There is a scene where they meet, and my intention was that Catelyn would send a messenger with the dagger to Ned in King's Landing to try to unroll this difficulty. But as I sat down and wrote this scene, I thought, 'Catelyn wouldn't do it. Someone had tried to kill her child. She wouldn't send a letter and take this minor character as the messenger. That was something she was going to do herself.' That threw me for a bit of a loop because, in my original thought, she was remaining at Winterfell, kind of as the ruler of the North. But some part of me knew the character better than the part that had done that initial plotting. I don't really believe in this mystical stuff you hear some authors talk about — the characters talking to us, saying things. It's really one part of your mind talking to another part of your mind. It's all coming from the author. Maybe it's a right-brain/left-brain kind of thing, but whatever is the creative part of the brain is not necessarily the analytical part, and it knows better sometimes. The analytical part may devise plots, but the creative part is the one that gives the heart and soul to the characters.

- George R.R. Martin, Hour 25 Interview (2000)

[surqrised]

She wanted a storm to match her rage.

George R.R. Martin, A Feast for Crows

[hotdaemondtargaryen]

“Maybe I’m one of the few people in Hollywood who still thinks that when you adapt a work of art, a novel, a short story, you should do a faithful adaptation. [It] annoys me too much because they change things and I don’t think they generally improve them.”

GEORGE R.R. MARTIN — talking about the changes in adaptations of his own books.