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Point of view gets me. If I can feel like a character rather than a reader, I'll read that book.

As a writer I've learned certain lessons. One of them is to be careful about how you put a view, and to bear in mind how easily and readily you'll be misinterpreted.

My point of view when I make a book or I make a movie is to see the humanistic point of view. The point of view of the daily life of normal people.

You will always have partial points of view, and you'll always have the story behind the story that hasn't come out yet. And any form of journalism you're involved with is going to be up against a biased viewpoint and partial knowledge.

I think there is a real value in an editorial point-of-view and in editorial curation, and in putting together an entire narrative around a set of topics is important.

A point of view can be a dangerous luxury when substituted for insight and understanding.

When I approach a story or movie, the story is the most important thing.

Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.

Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.

I had passed through the entire British education system studying literature, culminating in three years of reading English at Oxford, and they'd never told me about something as basic as the importance of point of view in fiction!