Quotes of All Topics . Occasions . Authors
The resistance to my work, and to my way of writing, has been there from the beginning. The first things I wrote were these short short stories collected in At the Bottom of the River, and at least three of them are one sentence long. They were printed in The New Yorker, over the objections of many of the editors in the fiction department.
In my opinion, one of the biggest drawbacks about Sergio Leone films are the scores composed by Ennio Morricone. If [Leone] were as talented as I am, he would have made mixtapes for his movies instead of letting some schmuck write the soundtracks for him. But then if he were as talented as I am, he'd be Zach Braff. And have his own Grammy.
It's so funny that people think I actually ran for President. I am maybe the most un-political person you're ever going to meet. When I put "Elected" out, it was definitely a satire... "Alice Cooper for President"... when everybody realized I was running against Nixon, you known, even on a joke level, I think I got a lot of write-in votes.
I've been writing poems since I was in the Navy - to Rosalynn. I found I could say things in poems that I never could in prose. Deeper, more personal things. I could write a poem about my mother that I could never tell my mother. Or feelings about being on a submarine that I would have been too embarrassed to share with fellow submariners.
What do you know about me, given that I believe in secrecy? ... If I stick where I am, if I don't travel around, like anyone else I make my inner journeys that I can only measure by my emotions, and express very obliquely and circuitously in what I write. ... Arguments from one's own privileged experience are bad and reactionary arguments.
As a reader I feel included a lot in Julie Carr’s hard and beautiful book. I can pretty much hear its author speak—a whispering that enables us into its world . . . a masterfully sutured journey, painfully useful. Sarah—Of Fragments and Lines is a book I know I will return to. And urge it on my friends who have lives too and write in them.
We all make choices. Believe me, I would like to write the hit of the world. It's not like I have any desire to be in the shadows. My vision isn't marketing. Some people want to sell 6 million albums. There's nothing wrong with that. It's just not what I do. I'd rather look at a piece of work and say it's great rather than it's successful.
I wrote an album about being in love. I don't think it's possible to write an album while you're in love - why on earth would you bother? I mean, Christ. If you're in there writing songs about someone rather than just being with them and kissing their every molecule, surely the person that you're with must be asking some questions as well.
Kristin Gwynne has been writing some great stuff about the sexually violent element of "stop-and-frisk." This isn't just "turn out your pockets." This is young people being groped. That form of power - using sexuality for power and control - seems pretty straightforward to me. When are we going to just say that the cops are the enemy here?
Some people think that writers are innately solitary and that there's a kind of romance to that solitariness. I tend to think that what writers really want to do is get accepted into things. They want to get accepted into society, into culture, into intelligentsia, into the fun. Writing is their mechanism, their instrument, for doing that.
Kids draw masterpieces - they're the best painters ever. I think the same with music. They could totally write amazing music if they just had the right tools. It's important at that age to set up something, and then maybe afterwards you can go study your violin for 500 hours a week. But at least in the beginning you know about the options.
Sometimes I'll write a song first and then I'm like, "Oh this person will be great on this song." But there are some artists I know what want, like off the top I knew I wanted Brandy and Faith Evans. Their music is like the soundtrack to my life, so it was a personal thing for me. So once they said yes, I wrote songs specifically for them.
Utopian fiction is really boring. I had to read a lot of it, and it's not that much fun. But they're fascinating to me as historical documents. Cabet [Icaria's founder and author of the utopian novel, Travels in Icaria], is writing in the 1830s, and his idea of the perfect society reveals a lot about his time. But his book is uniquely bad.
Dialogue that is written in dialect is very tiring to read. If you can do it brilliantly, fine. If other writers read your work and rave about your use of dialect, go for it. But be positive that you do it well, because otherwise it is a lot of work to read short stories or novels that are written in dialect. It makes our necks feel funny.
Camera lies all the time. It’s all it does is lie, because when you choose this moment instead of this moment, when you… the moment you’ve made a choice, you’re lying about something larger. Lying is an ugly word. I don’t mean lying. But any artist picks and chooses what they want to paint or write about or say. Photographers are the same.
There was the usual dreaminess, I suppose. Also a shyness that caused me - and others - to notice that I could express myself better by writing than by speaking. This is typical of many writers, I think. What is a drawback in childhood is an asset to a literary life. Not being fluent on one’s feet sends one to the page and a habit is born.
I've always been able to write rhymes and that would be like when you consult with your girl. When I'm mad and s - t like that I would throw headphones on and close my room door, when I'm mad I just close the door with my girl and f - k her. In so many different ways hip-hop has been like my girl and it's always been there to hold me down.
But those dealing in the actual manufacture of mind are dealing in a very explosive material. The material is not merely the clay of which man is master, but the truths or semblances of truth which have a certain mastery over man. The material is explosive because it must be taken seriously. The men writing books really are throwing bombs.
I write simply because I hear voices of people in my head who won't give me peace until I convey their stories to the rest of the world. Seriously. They've always been with me. While other girls played with dolls, and my brothers with Hot Wheels, I was busy traveling through space or traipsing through graveyards with my imaginary playmates.
Do not beat up on yourself. Do not criticize your writing as lousy, inadequate, stupid, or any of the evil epithets that you are used to heaping on yourself. Such self-bashing is never useful. If you indulge in it, your writing doesn't stand a chance. So when your mind turns on you, turn it back, stamp it down, shut it up, and keep writing.
The two important facts I should say, are emotion, and then words arising from emotion. I don't think you can write in an emotionless way. If you attempt it, the result is artificial. I don't like that kind of writing. I think that if a poem is really great, you should think of it as having written itself despite the author. It should flow.
The writing has been on the wall for some years now, but we are a nation illiterate in the language of the wall. The writing just gets bigger. Something will eventually bring down the charming, infuriating naïveté of Americans that allows us our blithe consumption and cheerful ignorance of the secret ugliness that bring us whatever we want.
There are very real differences between science fiction and realistic fiction, between horror and fantasy, between romance and mystery. Differences in writing them, in reading them, in criticizing them. Vive les différences! They're what gives each genre its singular flavor and savor, its particular interest for the reader - and the writer.
Whenever there's an interview with me, I might read it, but I don't read the comments because they're so hateful sometimes. When someone writes something nasty, I just think, "If that's your contribution to my day, I really don't need your impoliteness." I'm lucky that people are very cool with me and I get a lot of love. I appreciate that.
If you want to write something completely unique, you will probably fail or at best write something without redeeming value. The mind works in certain patterns: the mind organizes facts in story form; it is your commonality with that body of human thought that makes a good book, not its estrangement from the common values that humans share.
The creative part, with the writing of it and the vision, and finding the voice of a show and the characters, is much harder to teach somebody. It's like music. You can either play it or you can't. If you can't play music and you really struggle and work hard, you can learn, but you have to have some inner gift to take it to the next level.
I hadn't heard the Gary Cooper thing so I'm not grounded now. I feel pretty good. That's incredibly nice. When I met Robin [Williams] at the read-through, I remember when he came in, I was so nervous meeting him for the first time is incredible because I did actually write him a letter when I was a kid and told him he was my favorite actor.
I came away believing and really deeply troubled by is the extent to which you can have two well-intentioned people talking in a friendly spirit and you get to a point where the two mutual mythologies just don't intersect. So kind of the next piece I'd like to write or think about is how did this left-right divide get so weird and codified.
I have never written a musical. I have never written a weird, interactive piece of theater. I wanted to do something that would be disturbing. It will be disturbing theater with songs. There will be no people on wires. That's probably the next one of those things on my bucket list of things that I need to write before I get hit by that car.
The academic bias against subjectivity not only forces our students to write poorly ("It is believed...," instead of, "I believe..."), it deforms their thinking about themselves and their world. In a single stroke, we delude our students into believing that bad prose turns opinions into facts and we alienate them from their own inner lives.
It's somewhat of a contradiction, .. I guess the quieter the voice, the more necessary it is to push it. It's not going to leap out at you and scream. I also can't control how a book is marketed. To say the book marketing is aggressive, fine, I'm happy with that. Push the book. That doesn't mean that my personality or writing style changes.
In his writings, Patton was shameless about his ambition to woo Lena to be his bride. He detailed the gradual progress he made, playing music for her on his violin, writing her poems, beguiling her with stories, engaging her in conversation. It was clear that he obsessed over her. He knew what he wanted and never relented until she was his.
Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"
Memoir is a unique opportunity to revisit yourself. I don't mean by memory. I mean in the revision process. You don't just write a chapter and that's it. You must constantly return to it. You must dote on it. And even if it's saying something ugly about who you are, you have to find the poetry in it. You have to find the poetry in yourself.
[Bad Influence]was David Koepp's first big screenplay. It was actually a writing sample that was around town to get David work at the time, and Steve Tisch - now the owner of the New York Giants - found it, loved it, and together we put it together. But I'd say that would be the one I'd tell people to go and look at if they haven't seen it.
I go into a gallery or museum, and I realize that I don't have to formulate any opinions if I don't want to. I don't have to think this thing through and write about it at any great length. I can think about it if I want to; if not, I can just walk out. So I can enjoy painting really a lot more than I could when I had that sort of pressure.
I'm releasing a single. It's called 'Live it Up.' It was based on my Euro trip. I only write my own music. I don't let other people write it at all. So I've been working on that a lot. There's three singles coming out. The producer of The Fray who did their double-platinum album 'How to Save a Life,' I'm working with him. He's producing me.
The art of writing is mysterious; the opinions we hold are ephemeral , and I prefer the Platonic idea of the Muse to that of Poe, who reasoned, or feigned to reason, that the writing of a poem is an act of the intelligence. It never fails to amaze me that the classics hold a romantic theory of poetry, and a romantic poet a classical theory.
You should really stay true to your own style. When I first started writing, everybody said to me, 'Your style just isn't right because you don't use the really flowery language that romances have.' My romances - compared to what's out there - are very strange, very odd, very different. And I think that's one of the reasons they're selling.
In my head, the 5 issues of A Spoon Too Short comprise one novel: a 100 page graphic novel sequel to Douglas' two Dirk books, taking some of the ideas he was working on before he died, and a whole bunch of new stuff from me and a little from Max Landis (who is the Executive Producer on the book as well as writing the forthcoming TV series).
I definitely shut down sometimes. I always just go into my own little cocoon and write, and I surround myself with as much music as possible. The last girlfriend I had, when we broke up, I remember being in a room for days on days on days with my music cranked up, playing songs like Kanye's '808's & Heartbreak.' That playlist just was long!
We live in a society in which spurious realities are manufactured by the media, by governments, by big corporations, by religious groups, political groups. I ask, in my writing, 'What is real?' Because unceasingly we are bombarded with pseudo realities manufactured by very sophisticated people using very sophisticated electronic mechanisms.
Well, as a short-story writer, I don't think there are any weaknesses to the genre itself. I guess I would say that the difficulty of the form is that one must create an entire world in five to 30 pages, as opposed to 300. There is very little room for fat - you must be economical. And you must begin as close to the end as you possibly can.
I've told youngsters not to write their autobiographical novel at the age of twenty-one; to save it for the time when they're fifty-one or sixty-one. They should write other novels first, to learn their craft; they shouldn't cut their teeth on the valuable material of childhood because they'll never have better material, ever, to work with.
Despite the war, and bombings, and all the big things that happen to us, the stuff of our lives is small and always will be. During a war it is different, but even then, it is perfectly possible to write novels during a major war, which are about those thing which endure. It is what makes us human and the thing which is going to keep going.
I often recall these words when I am writing, and I think to myself, “It’s true. There aren’t any new words. Our job is to give new meanings and special overtones to absolutely ordinary words.” I find the thought reassuring. It means that vast, unknown stretches still lie before us, fertile territories just waiting for us to cultivate them.
Some say I'm an overnight success. Well, that was a very long night that lasted about 10 years. But while I do, of course, now feel the pressure having had books that have been very successful, I just know I have to concentrate on writing for myself. I can't worry about genres or markets or what might be commercial or not. That never works.
The movie is usually, for me, something organic that grows all the time. I sit home and write it, and I'm in an isolated, four-walled environment, and I don't know what's going on. I just write it, and it's appearing in my head in some idealized way where every single moment works, and every little thing is perfect, because it's in my head.
I always thought it was important to overdeliver, and when I got one of my first jobs, writing jokes for Garry Shandling when he was hosting the Grammys, I stayed up all night and wrote a hundred jokes, and I thought, "I'm always going to be the person that gives them more than they requested, and that's why they'll want to keep me around."
Until I reached my late teens, there was not enough money for luxuries - a holiday, a car, or a computer. I learned how to program a computer, in fact, by reading a book. I used to write down programs in a notebook and a few years later when we were able to buy a computer, I typed in my programs to see if they worked. They did. I was lucky.