A Quote by Andrew O'Hagan
A theatre is not a blank page for editorial, it is not a soapbox or a Tannoy system: it is a conscience that wakes with what is happening in the space, and wakes further still in response to what people are making of it.
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Now conscience wakes despair That slumber'd,-wakes the bitter memory Of what he was, what is, and what must be Worse.
Silence is the space where man wakes up.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
In the theatre, because you're all looking at the same thing in the same space, consciousness is no longer individual. There is a unified consciousness. Until you look and project what is happening, it doesn't exist; the audience are the ones making the theatre, not the players.
Actually, who hasn't been through the ghastly experience of sitting in front of a blank page, with its toothless mouth grinning at you: Go ahead, let's see you lay a finger on me? A blank page is actually a whitewashed wall with no door and no window. Beginning to tell a story is like making a pass at a total stranger in a restaurant.
I know we have to have people of good conscience who stand up against oppression. I know we have to have people who understand that social justice belongs to us all. And that wakes me up every morning, and that makes me fight even harder.
Love wakes men, once a lifetime each; They lift their heavy lids, and look; And, lo, what one sweet page can teach They read with joy, then shut the book.
Most people don't read editorial pages. I think I must have been 40 before I even looked at an editorial page.
When I write, the first blank page, or any blank page, means nothing to me. What means something is a page that has been filled with words.
As a writer, if you have something on a page, you can start moving it around and get something you like. But if you have a blank page, it's just gonna be a blank page.
I found, after the experience of making 'Shaun Of The Dead' and then returning to the blank page - because 'Shaun Of The Dead' was the first screenplay I ever wrote properly - the experience of returning to the blank page and having nothing in the drawer was intensely painful.
You need 10,000 hours to figure out how to be good at something and I agree with that to a certain extent. It's like everything you do to lead up to a great recording or great performance is everything you've done in the past and you can't just, it's rare that someone wakes up in a void and goes and wakes up and makes the most brilliant recording or performance.
Jiro Ono serves Edo-style traditional sushi, the same 20 or 30 pieces he's been making his whole life, and he's still unsatisfied with the quality and every day wakes up and trains to make the best. And that is as close to a religious experience in food as one is likely to get.
I have a horror of the blank page. I simply cannot write on a blank page or screen. Because once I do, I start to fix it, and I never get past the first sentence.
Sometimes I'll do five minutes of skipping at the start of the day - one minute on and one minute off, and it's great, it really wakes up the system.
What wakes me up at night is this next generation and what's happening to them. And they're invariably excited about the science that they're doing, but invariably anxious about where there's a future.
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