A Quote by David Lloyd
Kickback is a police thriller which I wrote. I'm very proud of it. I did it in two parts for France because when I wrote it, there wasn't the audience demand for crime stuff that there is now.
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I never wrote for children. I wrote with respect for the audience, which I've maintained all my life. Doesn't mean I couldn't be risque, but I did it smartly, without being vulgar.
France was very opposite of the show-business experience I'd been living; I was anonymous and alone. I wore no makeup, wore the same clothes every day. And I wrote and wrote and wrote.
I wrote for magazines. I wrote adventure stuff, I wrote for the 'National Enquirer,' I wrote advertising copy for cemeteries.
In the immediate aftermath of the separation I just wrote and wrote and wrote. And wrote and wrote and wrote. Thank God I had that as an outlet.
I acted at school but got very bad parts - things that they'd made up in Shakespeare plays like 'Guard 17' - so I wrote plays and gave myself parts, then I wrote sketches, then I did stand-up. Even in the school nativity I was the emu in the manger.
I wrote 'Yellow Submarine' for the Beatles. I wrote the screenplay for 'The Games,' about the Olympic Games. I wrote 'Love Story,' both the novel and the screenplay. I wrote 'RPM' for Stanley Kramer. Plus, I wrote two scholarly books and a 400-page translation from the Latin, and I dated June Wilkinson!
'Carbs' is the first song I wrote, and 'I Wanna Boi' is the second song I wrote. I am very proud of every song I made since then. Anything I'm not proud of I wouldn't show people.
I wrote my first book at eight, all of four pages. At 10, I did a 40-page story. At 12, I wrote two stage plays.
When I wrote 'Marley & Me,' I had a clear audience in mind. And it did not include children. I wrote my book for adults and assumed only adults, and possibly teenagers, would be drawn to it.
[Miss] Piggy was amazing, I was nervous because I wrote our opening. I wrote the song, wrote what we were going to do. And first I was hoping that they would approve it, because they're not playing.
There are parts in albums where I wrote a lot of the lyrics. There are parts on albums where Steve wrote a lot of the lyrics, even albums where Steve did the majority of the lyric writing. Then there were albums like 'Coming Home' where I did most of the chorus lyric writing. But it was always split.
When I wrote my first film and then directed it and I looked at it for the first time on what's called an assembly, you look at this movie which is every scene you wrote, every line of dialogue you wrote and you want to kill yourself the minute you see it. It's like, 'How did I write something so horrible?'
He Wrote, Are you OK? I told him, My eyes are crummy. He wrote, But are you OK? I told him, That's a very complicated question. He wrote, That's a very simple answer. I asked, Are you OK? He wrote, Some mornings I wake up feeling grateful.
Back when the concept of organ transplants qualified as science fiction, novelist Maurice Renard wrote a thriller called 'Les Mains d'Orlac.' Call it a bastard offspring of 'Frankenstein;' its plot revolved around the old theme of Science Giving Us Stuff We Shouldn't Have - in this particular case, restoring severed body parts.
Before I published anything, I dreamed of publication, but I didn't actually write for it. I imagined that writing for an audience was something for fancier people. I aspired, but mostly I wrote for myself. I wrote because it made me happy.
I wrote the text of the resignation. I cannot say with precision when, but at the most two weeks before. I wrote it in Latin because something so important you do in Latin. Furthermore, Latin is a language in which I know well how to write in a more appropriate way.
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