You need to be invested in what happens. The characters are your conduit to the story. Many modern horror films are fun but not frightening because one has not connected with the characters. — Jane Goldman Copy Share Image
“By the close of the nineteenth century her studies with her father were being supplemented by tuition in the classics from Dr Warr of King’s College, Kensington, and from Clara Pater, sister of the English essayist and critic Walter Pater (1839–94). Woolf was very fond of Clara and an exchange between them later became the basis for her short story… — Jane Goldman Copy Share
“Bloomsbury lost Fry, in 1934, and Lytton Strachey before him, in January 1932, to early deaths. The loss of Strachey was compounded by Carrington’s… — Jane Goldman Copy Share Image
“In 1925 Woolf began an affair with Sackville-West, who was married to Harold Nicolson, the diplomat and writer, and the development of their close… — Jane Goldman Copy Share Image
“Modernism and feminism are two broad axes on which Woolf criticism turns, and there are many other categories that reflect the range of positions… — Jane Goldman Copy Share Image
There is always a reverence issue, and I'm no different from any audience member that if someone's adapting a book or comic that I… — Jane Goldman Copy Share Image
I like looking at a book and asking myself, 'How do I replicate that experience I just had as a reader?' — Jane Goldman Copy Share Image
“The 1990s to the present: feminism, historicism, postcolonialism, ethics There has never been a better time to study Virginia Woolf. Woolf studies, in the… — Jane Goldman Copy Share Image
We just really wanted Hit-Girl to be a character who, in a sense, simply happens to be an 11-year-old girl, in the same way… — Jane Goldman Copy Share Image
I think when you really adore something, and you've grown up with it, you almost don't want to be part of it. I want… — Jane Goldman Copy Share Image
