A Quote by Bryan Burk

And then simultaneously I don't think they're asking you to necessarily write in stone that this is what you're going to do or what you have to do. — © Bryan Burk
And then simultaneously I don't think they're asking you to necessarily write in stone that this is what you're going to do or what you have to do.
Every thing thinks, but according to its complexity. If this is so, then stones also think...and this stone thinks only I stone, I stone, I stone. But perhaps it cannot even say I. It thinks: Stone, stone, stone... God enjoys being All, as this stone enjoys being almost nothing, but since it knows no other way of being, it is pleased with its own way, eternally satisfied with itself.
I love the way my weight fluctuates in the newspapers. It was 18 stone and then people look at a bad picture of me and add a few more stone on. I think the highest was 22 stone.
Writing a film is like building a brick wall. You have a plan, and you have the blocks. Then, somebody says, 'I think we'll take this stone out of here and put it over there. And while we're at it, let's make this stone red and that stone green.'
If I know you, and you want to touch my hair, you should ask me first, and most of the time I'll say yes. But if I don't know you, and you just reach out and touch me without asking or touch while simultaneously asking, I'm going to give you a side eye.
I write what I want to write, and then, when it's finished, I use my judgment to see whether or not I think it's intrusive. If it is problematic, then I ask those involved. I won't necessarily do what they say. But I do consult. I haven't had too many problems. Nobody's really gotten angry at me. Nobody, as far as I know, has felt betrayed.
The establishment, the newspapers, they try to create something called Scottish literature, but when people are actually going to write, they are not going to necessarily prescribe to that, they'll write what they feel.
If I come across an issue, or something I feel strongly about, and I happen to think of a song that would go in that direction, then I do it. But that's not what I start out, necessarily, to do. Sometimes I may have an idea for a song - "Well, I'm going to write about a thing.
I think if you write humor, then people don't - you know - they don't give you that much credit. They tend to think you just dictate your stories into a tape recorder. And I'm not necessarily insulted by that, because I think that just means that it looks easy.
When I was in the gulag I would sometimes even write on stone walls. I used to write on scraps of paper, then I memorised the contents and destroyed the scraps.
I think the moment you start trying to please a fan base is when you start going downhill. I'm going to always, always write about what I want, even if it doesn't necessarily cater to most of them.
If I sit down to write a young-adult novel, then I'm going to write either to the punch-pulling expectation of what I can't do, or I'm going to go the other way and think about what can I sneak in to be 'down with the kids' - which would be excruciating.
I'm such a believer in going to set, even when you're not work because I think the best things to be learned, you don't necessarily get from your own scene or from someone speaking to you and telling you advice. I think it's all about watching and just taking it all in. It's not even when the cameras are rolling, necessarily. You can see how they interact with the rest of the crew, and how they deal with being a character and then being themselves.
If you want to be a serious writer, then you have to write what there is to write about. If you're going to pull your punches and second-guess yourself and not do things because you're worried, then don't write. Stay home and do something else.
It's not easy. I make snap judgments, too, and I start to write people off. And then I start to remind myself of how I'm constantly asking judges not to write people off. And so then I try to resist it.
My father said he was going to write to the Jinzhou City Party Committee asking for permission to 'talk about love'...My mother supposed it was a bit like asking permission from the head of the family...the Communist Party was the new patriarch.
Victor Stone's story is one of acceptance - of self and others. Also, accepting his father for the person he once was, absent from his life until he turned him into Cyborg. And acceptance of oneself in that he is both Cyborg and Victor Stone simultaneously.
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