A Quote by Annette Bening

Once I get on something, once I have something that I'm working on, then I become very obsessive. In a good way. I mean,... is there a positive way to say obsessive? It's a good thing and if you're out there and you're working on something right now and you're crazed and you're up in the middle of the night, or you can't stop thinking about it, or you have to keep reading other things about the subject that you're working on or whatever. That's good and I think that's necessary creatively.
When I'm working, I'm insufferable because I get stuck with myself, and suddenly I become obsessive, thinking about how to make something better.
I usually have more than one thing I'm working on at once -- I've been working on three different novels. When I get stuck on one, I hop back and forth. It's sort of freeing: I can say I'm abandoning this thing that I hate forever and I'm moving on to something that's good. I'll find that I'll go back to [the other project] in a day or a week and like it again. But that moment of wanting to trash something -- that Virginia Woolf moment when you have to be stopped from filling your pocket with stones -- comes pretty regularly for me. Switching is probably a good thing.
I don't think there's any single finished point for a work. It's done when something's happening with the work that feels like a balanced, coherent disharmony. That's one way to say it. And where if I keep working on it, to discover and struggle with new problems, I'll obliterate the ones I was working on. I could keep working on it, but it'd become something different. And I value what's here, at the moment.
I think the best way to find out about something is to try to do it to the max. A lot of people take up a hobby or sport and then find an excuse not to carry on with it. Once I start something, I won't stop until I'm as good at it as I'll ever be.
One of the most important things for me in terms of my working method is doubt. I get very insecure about my ideas. And I don't say 'insecure' in kind of a paranoid way. I mean just: 'Are they good enough?' 'Is this the right thing to do?' I really beat myself up over that.
It's really daunting when you have just spent a lot of time on something to think about tossing it out. But once you've started something better that's working right, then it's pretty easy to let the first one go.
Once I do something, I need to be obsessed - or maybe I don't need to be obsessed, but I get obsessed because that's just the way my brain works - but I need to pay a lot of attention to detail. Because everything counts to me once I do something, even if it's a movie that nobody cares about. That's why I need to choose very well what I want to do. But in real life, when I watch TV or whatever, I guess I'm not that obsessive guy, and I'm pretty boring.
I write in spurts. I write when I have to because the pressure builds up and I feel enough confidence that something has matured in my head and I can write it down. But once something is really under way, I don't want to do anything else. I don't go out, much of the time I forget to eat, I sleep very little. It's a very undisciplined way of working and makes me not very prolific. But I'm too interested in many other things.
Writing a book is about me doing the work to get from the obsessive particular to something that reaches out of that in some meaningful way. It doesn't come easy to me. I really admire people who do it with acuity, but I don't, and for me it takes the process of working on a book for years to do any thinking that I feel accomplishes anything. I don't do it off the cuff well.
You learn, of course, when you're working with something good, but you also can learn when you're working with things that are not good. You can see the reasons they're not good. I would sometimes suggest what could be done, but essentially say "It isn't worth the bother." So I learned from that process.
What can cake teach you about life? That practice makes perfect, and if you try something once, it probably won't be perfect, and you have to keep working on it if you want to be good at it.
I love working with directors who have good taste. It's incredible when a director can say something and things open up for you. I went to The University of North Carolina School of the Arts, and some of my best experiences on sets have been working with other alums.
It's very hard sometimes when you can't crack something or can't solve something and you keep trying and trying and you know it's falling a little bit short. That's very hard, but then when you finally do it, it's very rewarding and the process is good too, I like working with people this way.
The time is a thing; you don't have so much time. A good trick is to try and think about a way to use material from one occupation for the other. It's like going through working a day job, this is so dumb to say, but you know how Julian Schnabel made those crockery paintings while he was working as a short-order cook? It's like that, using what is around, transforming that to create meaning and make art. Trying to take nothing and make... something.
I don't really like to write at a desk. I like to write when driving in a car. ... Once you're working on it, you're working on it all the time, and sometimes stuff'll come in the middle of the night, in a dream or something. Your mind is working on it all the time.
I worry more about something that isn't working rather than something that feels really good. You forget about the good stuff.
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