A Quote by Ben Dolnick
A novel quite possibly won't be good and, even more possibly, will have not-good parts, but at least it won't shape-shift on you; at least you can say that you're halfway through and know that this maps onto some clear, visualizable chunk of narrative.
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So OK, it's your special big Four-O birthday But don't expect me to be obsequious and fawning You, being you, can't possibly be a good example So do try, at least, to serve as a warning
I always think I know the way a novel will go. I write maps on oversized art pads like the kind I carried around in college when I was earnest about drawing. I need to have some idea of the shape of the novel, where its headed, so that I can proceed with confidence. But the truth is my characters start doing and saying things I don't expect.
Even if we can agree that some things are natural and some are not, what follows from this? The answer is: nothing. There is no factual reason to suppose that what is natural is good (or at least better) and what is unnatural is bad (or at least worse).
It's not great if someone gives you sort of bland praise without giving you clear direction and say, "This is good, let's try it like this." I have worked with someone who seemed quite inarticulate and just would say, "That's good, that's good." That's very frustrating because - it's nice to know something is good but you know it can always change.
I think you're always attracted by characters that are a little bit like you, or at least the worst parts of you that you can finally accept and say, 'All right, at least I know that now!'
I put my head on my pillow now, knowing that in the later stages in my career, from 2010 on, I did everything I possibly could do to be as good as I could possibly be, I know it sounds really cheesy but it was actually true.
I have always argued that we can't live by or be made to exist outside of mythology, and that every group and nation has, possibly unacknowledged to themselves, some myths by which they live. It remains important to revisit them, understand them and possibly retell them - or at least own up to them - and then it becomes possible to move something. If it's obscure or invisible to you, you can't budge those understandings.
It must be a good thing to die conscious of having performed some real good, and to know that by this work one will live, at least in the memory of some, and will have left a good example to those that come after. A work that is good-it may not be eternal, but the thought expressed in it is, and the work itself will certainly remain in existence for a long, long time; and if afterwards others arise, they can do no better than follow in the footsteps of such predecessors and do their work in the same way.
I try to be the best husband and father I possibly can. And it doesn't mean I get to spend as much time with my family as I'd like, but I do the best I can. Even if you do get to be an astronaut and get to go and do a lot of interesting things, at some point that will come to an end. If in the process you short change your family or compromise your values along the way, when you get through on the other side, it won't really be worth it. At least not to me.
On some other world, possibly it is different. Better. There are clear good and evil alternatives. Not these obscure admixtures, these blends, with no proper tool by which to untangle the components.
Directing takes a good chunk of your life out. It's a very hard thing. As an actor, you go in for a couple of months and do your job, and then you move onto another one. As a director, it's with you for quite some time and you're responsible for the entire thing, whether the results are good or bad, or whether people throw darts at you or put you on a pedestal.
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