A Quote by Casey Stengel
You have to draft a catcher, because if you don't have one, the pitch will roll all the way back to the screen.
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I can hedge out on the screen-and-roll, I can fall back, and I can switch. I'm pretty good with everything on the pick-and-roll.
I see myself as a first-draft writer, so when I sit down to write something, the first draft is usually pretty close to the end draft. There will be some tweaks along the way, but it's not like I'll go 20 pages and throw it out and start again.
I want to throw my best pitch and I want to throw it a certain way, regardless of where the runners are. But it does take the catcher being able to handle that.
First draft: let it run. Turn all the knobs up to 11. Second draft: hell. Cut it down and cut it into shape. Third draft: comb its nose and blow its hair. I usually find that most of the book will have handed itself to me on that first draft.
The way I pitch is the way I pitch. I'm not going to change my overall philosophy. I'll just go out and pitch.
Writing the first draft of a new story is incredibly difficult for me. I will happily do revisions, because once I can see the words on the page, I can go about ripping them up and moving scenes around. A blank page, though? Terrifying. I'm always angsty when I'm working my way through a first draft.
That rock ‘n’roll, eh? That rock’n’roll, it just won’t go away. It might hibernate from time to time, sink back into the swamp. I think the cyclical nature of the universe in which it exists demands that acquiesce to some of its rules. But it’s always waiting there, just around the corner,” he added. “Ready to make its way back through the sludge and smash through the glass ceiling, looking better than ever. Yeah, that rock’n’roll, it seems like it’s faded away sometimes, but it will never die. And there’s nothing you can do about it.
I write an actual script rather quickly - a draft will take me two weeks - but I write a lot of drafts. My big thing is I don't re-read. When I write, I never re-read back. I'll send it, because if I re-read back, it will cripple me.
We will pave the way for a transformation and roll back the years of Thatcherism...We will turn economic ruin into economic recovery, and above all pave the way for a General Election to elect a Labour Government.
I said the screen will kill the reader, and it has: the movie screen in the beginning, the television screen, and now the coup de grace, the computer screen.
Rigging is like Zen meditation. You must bend over the boat until your back is breaking, until your brain is filled with numbers and fractions of numbers, until you can accurately measure an oarlock's pitch without bothering to use the pitch meter. Only then will you see the way of eternal rigging happiness.
When I write a new draft, I don't like to feel I'm tied to any previous version. That's why I don't use a computer to write. The text looks, on the screen, too much like a book. It's not a book - it's a bad first draft of something that could one day be a book.
Some can just knock it out and some have to lock themselves in a room and get to a fever pitch of self-loathing before they turn in a first draft. . . . each writer's process is screwed up in its own way.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
I'm a Brit and I just put myself on tape, back in London, for a very distant American project that I thought I didn't stand a chance of getting. And then, I got a call about a week after I had submitted my tape, just saying, "They really like you and want to screen test you." So, I flew to L.A. and did the screen test. And then, I met Elijah [Wood] and did a screen test with him. And then, I had a very nerve-wracking few days back home, waiting and waiting and thinking, "This cannot possibly go my way because that would just be too good to be true." And then, it did.
I think Ed Harris is a conscious screen actor, so I think it was strong, it was like he put everything together somehow in 'The Way Back'. He likes, I don't want to say the method approach, because that's not really necessarily his way of working, but it was easy to do because of the location. He'd go off by himself, and they would make things.
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