Quotes of All Topics . Occasions . Authors
The key research I usually apply that allows me to understand the roles that I take on, starts with the script in front of me, and what it offers. I try to absorb as much of it as I can, in the time that I have to study it, and I like to change things up, if I have a choice in the matter... and I usually don't. I dream on it, write about and find out who the individual is, and try to bring him to life with as much human and truth as I can.
In Hollywood, story content of movies follows a hierarchy of power, not the relative quality of various ideas. Hollywood does not lack for quality writing. It's just that quality writing commonly has to be sacrificed in order to propel a film into production. A studio needs a star and a director to make a film, so those are the folk who'll define the content. If they don't have the same creative sensibilities, then the content will change.
This distraction is what one wants, which is very, very bad for the muse, because the muse hates not being in the line of sight. It's no longer an external conflict, like, oh, I have all these demands and I don't like them. The split is in the self. This may explain why, when I was in Santa Barbara before I went to Singapore and then now to Hong Kong, there was a writing moment when I was writing a poem a day. I had never done that before.
Keeping your sanity is sometimes stalling the business aspect of things and being OK with saying no to certain things. Sometimes I just need to be home and write in my diary every day and take long walks. Or just dancing - I have a few dancer friends, and I go to their places and drink tea, and put on these long electronic mixes; maybe smoke a joint, you know? I like to be in nature, and swim in the Swedish sea, and spend time with family.
Where are they written?" "In the world around us. Merely be attentive to what happens in your life, and you will discover where, every moment of the day, He hides His words and His will. Seek to do as He asks: this alone is the reason you are in the world." "If I discover it, I'll write it on clay tablets." "Do so. But write them, above all, in your heart; there they can neither burned nor destroyed, and you will take them wherever you go.
I often encountered books by academics and others who had not actually done what they had written about. They tend to create artificial simplicity; their prose doesn't have the vigor of "lived words." On the other hand, many practitioners lack the context or introspection to make their experiences and understandings transferable - and, in our time, many don't actually write the books they "author." My ideal is to unify theory and practice.
Ah." He set down his backpack and pulled out their notebook. "You're working on your final project?" "Indirectly," Cath said. "What does that mean?" "Have you ever heard sculptors say that they don't actually sculpt an object; they sculpt away everything that isn't the object?" "No." He sat down. "Well, I'm writing everything that isn't my final project, so that when I actually sit down to write it, that's all that will be left in my mind.
Karl Popper once advised a student that if he wanted to reap intellectual fame, he should write endless pages of obscure, high-flown prose that would leave the reader puzzled and cowed. He should then here and there smuggle in a few sensible, straightforward sentences all could understand. The reader would feel that since he has grasped this part, he must have also grasped the rest. He would then congratulate himself and praise the author.
I want to do a stripped-down album. That style is actually where my heart is - storytelling and just letting the voice and the lyrics talk for themselves. I still want to write the perfect song and sing it in the most honest, undressed way. But I feel like I have to gather more experiences and more layers in my voice. I have to live more to be able to tell this tale. So I'm saving my folk record. I have a feeling nobody will understand it.
Sometimes what happens I think is that actors finish a movie and they go, oh my god, I'm never going to work again, even big huge actors, and so they'll take something thinking that something else will never come along. But for me, I freak out - because I'm a bit of a workaholic - the second I finish a movie going oh my god, what am I going to do, but I can start writing the next day so it doesn't force me to make a bad choice acting-wise.
The fact is that all the recording science and technology in the world is no substitute for a good song or for real feeling. Music is about feeling and if there isn't any genuine feeling, if the song isn't about anything that anyone gives a damn about, there's nothing you can do. All the technique that exists won't make it any good; it'll just make it technological. All the production values you add won't do anything except make it glossy.
When people ask me if musical theatre should be taught in music colleges, I reply that there is no need. All anyone needs to study is the second act of La Boheme because it is the most tightly constructed piece of musical theatre that there is. It is practically director-proof: you can't stage it badly because it just works too well. If you can write La Boheme, you can write anything. I would also recommend studying Britten's Peter Grimes.
I believe that magic is art, and that art, whether that be music, writing, sculpture, or any other form, is literally magic. Art is, like magic, the science of manipulating symbols, words or images, to achieve changes in consciousness… Indeed to cast a spell is simply to spell, to manipulate words, to change peoples consciousness, and this is why I believe that an artist or writer is the closest thing in the contemporary world to a shaman.
I don't support or unsupport Assange. If the Democrats had the proper defensive devices on their internet, equipment, they wouldn't even allow the FBI. How about this - they get hacked, and the FBI goes to see them, and they won't let the FBI see their server. But do you understand, nobody ever writes it. Why wouldn't Podesta and Hillary Clinton allow the FBI to see the server? They brought in another company that I hear is Ukrainian-based.
I certainly had qualms about writing my piece in the first place, since I knew I couldn't express my disdain for many of Rev. Falwell's teachings. But I don't regret having written about the sides of Rev. Falwell that had nothing to do with politics or religion - his grandkids, his ministry for ex-alcoholics, his penchant for practical jokes. I think it's important to recognize the humanity in everyone, even those we strongly disagree with.
A few days after we came home from the hospital, I sent a letter to a friend, including a photo of my son and some first impressions of fatherhood. He responded, simply, 'Everything is possible again.' It was the perfect thing to write, because that was exactly how it felt. We could retell our stories and make them better, more representative or aspirational. Or we could choose to tell different stories. The world itself had another chance.
I went to West Texas and started writing a cycle of Americana poems after the space conjured images that, as a child, I only saw on television-John Wayne, cowboys, borderlines. But suddenly, I felt close to these once-foreign imageries and wondered how I'd changed. Each evening brought the darkest skies in the country, and I understood the expansiveness of our inner selves. Ultimately nothing divides us except the worlds and words we allow.
I really do seek to create music that is timeless, ... Each project takes on its own life, and the songs from "A Time To Love" are the most appropriate for the statement I wanted to make...The most important thing is, when I do give the music, I'm satisfied with it, that it speaks for what I want to do...It is a different kind of lyric; it's very picturesque. I can see everything that I'm writing, I can visualize all those things happening.
For some reason there's this myth that creativity - [especially] in terms of creative writing - is a gift you either have, or you don't. So when people first start writing, if they write something that's not very good, or if they try and it's difficult, they go, "Oh, I guess I don't have it." That doesn't seem very fair, you have to try and you have to work at it. If we get scared of one bad poem and quit, that's not doing anybody any good.
The heartbreak that it might not happen wasn't something that I wanted to face with any more weight. Then, when I got the call to go ahead I never thought for a second as I was approaching it who I would get - that would come later. Again, I think the idea was that I now had the rights to make the movie and I can start writing it but if I have to wait another 10 years before I find an actor that's right for it, I'd be very happy to do that.
Fiction writers, at least in their braver moments, do desire the truth: to know it, speak it, serve it. But they go about it in a peculiar and devious way, which consists in inventing persons, places, and events which never did and never will exist or occur, and telling about these fictions in detail and at length and with a great deal of emotion, and then when they are done writing down this pack of lies, they say, There! That's the truth!
The most important thing for a writer to do is to write. It really doesn't matter what you write as long as you are able to write fluidly, very quickly, very effortlessly. It needs to become not second nature but really first nature to you. And read; you need to read and you need to read excellent books and then some bad books. Not as many bad books, but some bad books, so that you can see what both look like and why both are what they are.
I have myself always been terrified of plagiarism - of being accused of it, that is. Every writer is a thief, though some of us are more clever than others at disguising our robberies. The reason writers are such slow readers is that we are ceaselessly searching for things we can steal and then pass off as our own: a natty bit of syntax, a seamless transition, a metaphor that jumps to its target like an arrow shot from an aluminum crossbow.
I'm always very grateful for stories about the great coffeehouse wits in Vienna at the turn of the last century. People would wait for a chance to stand near the table where the great wits were trading witticisms as a spectator sport because it was that good. They were that on fire and there was no product. They didn't write anything down. It was just the pleasure of engagement with the moment. I think that's my kind of ideal of how I live.
When you look back on a historical period of music, it seems so obvious to you what the characteristics of it are, but they're not obvious at the time. So, when I look back at my own work, I could easily write a very convincing sort of account of it that made it look like I had planned it all out from day one and that this led logically to that and then I did this and then that followed quite naturally from that. But that's not how it felt.
The unknownness of my needs frightens me. I do now know how huge they are, or how high they are, I only know that they are not being met. If you want to find out the circumference of an oil drop, you can use lycopodium powder. That’s what I’ll find. A tub of lycopodium powder, and I will sprinkle it on to my needs and find out how large they are. Then when I meet someone I can write up the experiment and show them what they have to take on.
Somebody at one of these places asked me: "What do you do? How do you write, create?" You don't, I told them. You "don't try". That's very important: not to try, either for Cadillacs, creation or immortality. You wait, and if nothing happens, you wait some more. It's like a bug high on the wall. You wait for it to come to you. When it gets close enough you reach out, slap out and kill it. Or if you like it's looks, you make a pet out of it.
I knew that I was writing for an American audience and that if I sold foreign rights, they would retranslate the book to make it make sense to that language. But one thing that was really important to me was not to italicize any of the words in the languages that were in the stories, because I feel like those foreign words felt just as important and integral to the story as everything else, so I wanted it all to just exist as its own thing.
A Daring Life: A Biography of Eudora Welty is a beautifully written portrait of Eudora Welty and her amazing life. Carolyn J. Brown carries the reader through Welty's long, productive writing career and introduces her family and friends along the way. The book's very readable text, its lovely use of Welty quotes, and its excellent photographs make the work a treasure. This intimate look at Eudora Welty is a welcome addition for her readers.
You can never read your own book with the innocent anticipation that comes with that first delicious page of a new book, because you wrote the thing. You've been backstage. You've seen how the rabbits were smuggled into the hat. Therefore ask a reading friend or two to look at it before you give it to anyone in the publishing business. This friend should not be someone with whom you have a romantic relationship, unless you want to break up.
When a mortal man speaks anything of that eternal blessedness of the saints in glory, he is like a blind man discoursing about the light which he has never seen, and so cannot distinctly speak anything concerning it. He also said that "In a way it is akin to a man writing a travel guide for a land he has never visited or seen. It is to attempt to describe the indescribable with words which cannot come close to expressing the glory of heaven.
The editor, Stephen Segal, actually called me with the idea of creating an accordion book [ "The Thorn & The Blossom"], and asked if I could write a story for it. I was so intrigued! I immediately knew that it had to be a love story told from the points of view of the two main characters. Right away, I started working on a proposal. And once I had my main characters, Brendan and Evelyn, it was as though they started telling me their stories.
The best way is always to stop when you are going good and when you know what will happen next. If you do that every day ... you will never be stuck. Always stop while you are going good and don't think about it or worry about it until you start to write the next day. That way your subconscious will work on it all the time. But if you think about it consciously or worry about it you will kill it and your brain will be tired before you start.
I feel like a lot of people involved with celebrity journalism have interesting ideas about the people they want to write about going into the interview. Then as soon as they actually sit down with that person, they basically ask the questions they think journalists are supposed to ask, and they start viewing themselves almost as a peer of the subject. Like they're going to become friends. That's why most celebrity journalism is so terrible.
The reason I wouldn't dare to write a Western is simply because that seems to be so much a part of American culture. Maybe if I want to write a Western enough I should try to overcome that fear, but I'll certainly feel like I'm trespassing. I feel that that is so much a part of American foundation myth, it's part of the myth of America, the American vision of what America is, which people have glorified and then challenged and then vilified.
I am patriot enough to take pains to bring this usefull invention into fashion in England, and I should not fail to write to some of our Doctors very particularly about it, if I knew anyone of 'em that I thought had Virtue enough to destroy such a considerable branch of Revenue for the good of Mankind, but that Distemper is too beneficial to them not to expose to all their Resentment the hardy wight that should undertake to put an end to it.
It was by coincidence that I ended up opening my first shop in 1968, and I haven't stopped since. I now find myself trying to do everything. I couldn't live without creating my collections, without writing, drawing and reading. But I couldn't either live without being close to my children on a daily basis and also to my grandchildren, and to all the people I love. I guess I am like every woman today, one who juggles her work and family life.
As not every instance of similitude can be considered as a proof of imitation, so not every imitation ought to be stigmatised as plagiarism. The adoption of a noble sentiment, or the insertion of a borrowed ornament, may sometimes display so much judgment as will almost compensate for invention; and an inferior genius may, without any imputation of servility, pursue the paths of the ancients, provided he declines to tread in their footsteps.
Beware of self-indulgence. The romance surrounding the writing profession carries several myths: that one must suffer in order to be creative; that one must be cantankerous and objectionable in order to be bright; that ego is paramount over skill; that one can rise to a level from which one can tell the reader to go to hell. These myths, if believed, can ruin you. If you believe you can make a living as a writer, you already have enough ego.
You can get away with breaking all of the other rules at least once in a while, but you can't get away with breaking this one. Readers will accept almost anything from you if you don't make them feel they have wasted their time and money. Remember, you can bore readers in a lot of different ways. It doesn't necessarily take a dearth of action; too much action can get you the same result. Everything in writing, like in life, requires balance.
He that condemns himself to compose on a stated day will often bring to his task attention dissipated, a memory embarrassed, an imagination overwhelmed, a mind distracted with anxieties, a body languishing with disease: he will labour on a barren topic till it is too late to change it; or, in the ardour of invention, diffuse his thoughts into wild exuberance, which the pressing hour of publication cannot suffer judgment to examine or reduce.
I used to always throw in random questions. I'd have to ask about artist's single and their writing process, which I know is every artist's most-hated question, like, "Well what was ,your process?" And it's. like, "Well, I wrote this album." And then at the end I would throw in, like, "So, Seinfeld or Simpsons?" and they'd be so thrown, because everything else could be autopilot. All my greatest moments were from the most sporadic questions.
Kriya is an ancient science,” Yogananda writes. Mahavatar Babaji rediscovered and clarified the technique after it had been lost in the Dark Ages. Babaji revealed to Lahiri Mahasaya: “The Kriya Yoga which I am giving to the world through you in this nineteenth century is a revival of the same science which Krishna gave, millenniums ago, to Arjuna, and which was later known to Patanjali, and to Christ, St. John, St. Paul, and other disciples.
I'm finding things out about myself as a person - as a writer - as I write, and so are the people who listen to what I do. But they have this additional aspect of how they take the stuff that I do, and so it broadens the work and it creates this strange connection. It's really a way of strangers communicating through this third thing, which is a body of work. But really, I know it's a cliché to say I write for myself, but I write for myself.
I noticed with older songs that I perform that I'm coming from a different place with them now...it mutates the vibe and even the meaning of the same words when you have a different spirit, if the person singing is different. I like that, to be able to sing an emotionally wrought song from a more centered place, or to sing an eager, youthful song from a more experienced place. It kind of colors the songs differently, and it keeps them fresh.
Germany was a parliamentary democracy with many, many humane and decent people who kept writing in their journals - I've read these journals, these memoirs - "Surely our leaders will stop this nonsense. Surely someone will take on these thugs. Surely the pendulum will swing back." Everyone was sitting at home going, "Well, they haven't come for me. This is crazy, but surely someone's going to take care of it." We all have to take care of it.
I take editing seriously. It's a joy to edit. I always hand a manuscript to several editors and can't wait to get back their notes and see what they've said. I don't criticize myself for making blunders here and there, because it's just natural. You write in chunks, and you may not remember that that sentence you wrote yesterday had the same word repeated three times. I do enjoy that. I love the feeling of repairing. Repairing is really nice.
When you write a show, you just never know if it will have a future or if the show will end up ever having a production, but, that doesn't mean that the songs - the best of the best songs - can't be pulled out and put on a CD. And, if the shows that they come from end up happening, then people will regard this as like a quirky little concept recording. And, if the shows don't end up happening, at least the songs will live on in some capacity.
There's all these people involved, and it becomes this huge machine - it stops being just me making my own little songs for myself, or for the world. And it's hard to stop the machine. If you want to take time to write a record, they're like, "OK, tour through March, April, and June, then you can take a few weeks off to record in July before getting back on the road for the European festival circuit." After a while, I had to put my foot down.
Our film [Hide and seek ]was created as part of the Asian American Film Lab's 11th 72 Hour Film Shootout filmmaking competition, where filmmaking teams have just 72 hours to conceive, write, shoot, edit and submit a film based on a common theme. The winners were announced during the 38th Asian American International Film Festival in New York last July. The theme for 2015 was 'Two Faces' and was part of a larger more general theme of 'Beauty'.