A Quote by David Milch

Faulkner wrote for film, and his ear is just impeccable. — © David Milch
Faulkner wrote for film, and his ear is just impeccable.
My father was among the first of his generation to look into writers who've become part of the American lit. canon. When he wrote his master's thesis on William Faulkner in the Forties, he couldn't find anybody on the faculty at Columbia University to oversee it because they didn't read Faulkner.
The only impeccable writers are those who never wrote.
We won't be having an affair." I stare dumbly, certain I just heard an organ in my body crack in my chest. His hands clamp around me, and he crushes me to his body as he slides his nose along the shell of my ear. "When I take you, you'll be mine," he says, a soft promise in my ear.
I wrote a paper [in school] on [William] Faulkner and no one could tell what the sentences meant.
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.
My brother was listening to his transistor radio. He kept switching the earpiece from one ear to the other, which I thought was his idea of a joke. 'You can't do that,' I said. 'You can only hear out of one ear.' 'No, I can hear out of both,' he answered. And that was how I discovered I was deaf in my right ear.
Faulkner was almost oriental. I never got into Faulkner.
You just need the ear. But the ear is something, I guess, that you can't buy. And I can't play the piano fluently, but I feel like my ear is my strong point.
The challenge in writing the songs for The Aristocats truly fell on the animators & director of the film. Robert & I wrote the initial songs for the film, just prior to leaving full-time employment at the Walt Disney Studios. Therefore, some of the songs we wrote for The Aristocats were never used. I believe, therefore, the challenge fell upon the makers of the film to select what songs made the final cut.
I saw the original that Gela Babluani wrote and directed called '13 Tzameti,' and that was very interesting. I believe it was a French film, and I was just intrigued by the awkwardness; the off-beatness of the film really just grasped me.
I wrote a film for Tom Hanks and I wrote two films for Paul Greengrass that didn't actually happen. The paradox is that the bigger the film you write, the less likely it is to happen.
To do a film with Govinda, who is a legend in that genre, whose timing is impeccable was challenging.
I think when it comes to Anderson Silva, it comes down to his speed, his distance and his timing are impeccable. They are second to none and that's what makes him dangerous.
One of the earliest memories I have of feeling the power of film music was watching Willy Wonka & the Chocolate Factory. That was a really clear epiphany for me, when I realized that each film has its own music, and that there was someone out there who wrote this very specific music for just this one film.
God has not changed; and His ear is just as quick to hear the voice of real prayer, and His hand is just as long and strong to save; as it ever was.
For years, despite having impeccable taste, I didn't understand how to convey that I had impeccable taste.
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