A Quote by Darryl Pinckney
I had a lot of notes and fragments and observations that never amounted to anything. After the Wall had gone down, so many people were writing about Berlin, I didn't have the same urgency or feel enough authority.
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I remember I went to Berlin right after the Wall came down. I first went to East Berlin, and all the buildings were old and falling down, and now when you go back to Berlin, you know you're in the East because all the buildings are brand new and very tall.
Nothing I had written before 'Mary Poppins' had anything to do with children, and I have always assumed, when I thought about it at all, that she had come out of the same wall of nothingness as the poetry, myth and legend that had absorbed me all my writing life.
I knew I had found my life's passion after writing my first column for The Washington Post. The response was like nothing we had seen in the business section. Everyday people were writing that finally someone was speaking to them in a way that was understandable. I think we were all shocked at how many readers wrote in to say that they too had a Big Mama who taught them about money.
I learned a lot about my parents, who were both teachers. I had known that my parents were very strongly in favor of education. I had known that they had an impact on a lot of people, but people came out of the woodwork who have said, "You know, without your father, I would never have gone to college," very successful people. And so I learned how widespread their educational evangelism really was.
The Berlin Wall go down, that was the most wonderful thing that could happen, absolutely. I celebrated with everybody in Berlin that day when the Wall was down.
Right after my fight against Luke Rockhold, I had surgery on my left hand. I just took out some fragments from back then. Too many training, and I had some fragments in my hand.
We had the Berlin Wall; we had walls everywhere. But we always looked at the wall as kind of like the outside of the wall is the enemy. Are we looking at Mexico as the enemy? No, it's not. These are our trading partners.
I wanted to play piano, and that slid quickly into writing - it wasn't enough to play other people's notes: I had to write notes too.
When I was writing Dune there was no room in my mind for concerns about the book's success or failure. I was concerned only with the writing. Six years of research had preceded the day I sat down to put the story together, and the interweaving of the many plot layers I had planned required a degree of concentration I had never before experienced.
My calling was first of all to ensure there was peace in the country, because we could easily have gone back to war. In the midst of the country, there were still warlords; there were many child soldiers who had never gone to school - they were part of the social setting - compromises had to be made.
I had an advantage over a lot of people who had gone to school and earned degrees in writing and had learned the rules for writing, so to speak. My style was just to tell a story but to tell it well, and that has worked out for me so far.
I realize that my opinion is my opinion, not everybody has to believe it and I never tried to shove anything down anyone's throat, but I was willing to take that to the trenches if you know what I mean. I took that opinion to the wall, often in public, often had to... I often had to fight in public with the very same people who I was trying to convince to play my records!
I had never written anything. And I had never studied writing. So my motives were pure: I had a great story... a courtroom drama that I sort of fictionalized, and that became 'A Time to Kill.'
After Hiroshima was bombed, I saw a photograph of the side of a house with the shadows of the people who had lived there burned into the wall from the intensity of the bomb. The people were gone, but their shadows remained.
It was a very aged, ghostly place; the church had been built many hundreds of years ago, and had once had a convent or monastery attached; for arches in ruins, remains of oriel windows, and fragments of blackened walls, were yet standing-, while other portions of the old building, which had crumbled away and fallen down, were mingled with the churchyard earth and overgrown with grass, as if they too claimed a burying-place and sought to mix their ashes with the dust of men.
I'm a playwright by trade, and in theater, writers have complete control over everything. Nobody can change a word without your permission. I've had a couple screenwriting experiences that weren't terrible, but they were typical, where executives came in and gave you sometimes good notes and sometimes horrible notes - but they wanted to change the movie that everybody had agreed to make. After a couple of times, it's like, "Why are we doing this?" The story is not going to turn out very good when 13 people are writing it together.
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