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Quote by Tim Soutphommasane

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Tim Soutphommasane
Tim Soutphommasane

Tim Soutphommasane is an Australian writer born in 1982. His works primarily focus on issues of multiculturalism and identity, particularly concerning the topics of immigration and minority groups. more

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“I grew up in the church, Resurrection Baptist Church in Philadelphia, and my grandmother was that grandmother at the church, the one always at the church, always putting on the events. It was deeply instilled in me that every action, everything I create, everything I say and do in the world is inexorably bound to the lives of everybody I come in contact with - and it's my responsibility to put things into the world that have a positive influence on humanity.”

“We usually break the story first. For instance, on The Monuments Men, and this one is more complicated because there's a lot of history, so before we started, we sat down with Robert Edsel, the author of the book, for about a week, and basically, he just gave us a lecture and went through everything. And then, I had a researcher, somebody who we had actually used on Argo.”

“I was keenly aware that I didn't want to draw on too many typically doomed aspects of the fated singer. Whether it's Judy Garland or Norma Desmond, there is this tragic quality to older women that one can revel in, and you want it to be more three-dimensional than that. So it was important for the character to be strong and resilient, because there are so many victims in opera.”

“I've had my ups and downs, and I definitely have a sense - in America, especially - that once you've made your mark and gotten your Rolling Stone piece and your Grammy nomination, that they're on to the next piece of meat, and they don't necessarily like to follow the twistsand turns of an artistic career. Throwing an opera at them is something they have to notice. There's nothing subtle about it.”