A Quote by David Shields
I want the reader to join me on an intellectual and emotional journey into some major aspect of existence.
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Join me in my quest for a greater understanding of our existence. Join me in my desire for a greater self. Join me as I seek the humility to love and understand my fellow man.
I want to engage the reader. I'm an emotional writer, in the sense that I would be happy if you re-read a book for the intellectual or the mental part of it, but, the first time, I just like to reach out and grab you, pull you in.
[What I want to communicate] doesn't have a language with which I can communicate it. The things that I want to communicate are simply self-evident, emotional things. And the gifts of those things are that they bring both intellectual and emotional gifts - understanding. But I don't really have a major message that I want to bring to the world through my music. The music can tell people everything they need to know about being human beings. It's not my information, it's not mine. I didn't make it. I just discovered it.
There's definitely a visual aspect and an emotional aspect to a song. And that harks back, for me, to theater.
Some of the writers I admire who seem very, very funny and very emotional to me can develop a closeness with the reader without giving too much of themselves away. Lorrie Moore comes to mind, as does David Sedaris. When they write, the reader thinks that they're being trusted as a friend.
There are some basic rules if they want to join the tumbling team. No drinking, no smoking, no swearing, no drugs and, most of all, no belonging to a gang. I read the riot act to them the minute they want to join. I tell them there's only one gang they can belong to if they want to be with me and that's Jesse White's gang.
Curiously enough, one cannot read a book; one can only reread it. A good reader, a major reader, and active and creative reader is a rereader.
Every story makes a promise to the reader. Actually, two promises, one emotional and one intellectual, since the function of stories is to make us both feel and think.
Join the bold, the brazen, the unintimidated. Join not having excuses. Join the idea that fun is the source of all joy. Join the unwillingness to give up. Join doing things your way. Join not joining. Join that purpose is stronger than outcome. Join your gut. Join the constant challenge of seeking greatness. Join play. Join the hunger to find what makes you happy. Join karma and nature and the effect you have on your world. Join your philosophy. Join something bigger than you. Join what you believe.
I think it's good not to make demands on the reader too early. But as the poem goes on, I want the journey of the poem to lead into some interesting places.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
As you follow the escapades or the journey of the hero through a story, it evokes some kind of emotion in the viewers. The director's job is to make sure that the audience goes through the journey and has an emotional reaction.
With 'Journey,' we created an emotional arc for two different scenarios. So, if you play alone, it's a good game. You have what we think is a complete emotional arc. You will feel, I guess, a sense of transformation in the single-player. Because it's a hero's journey.
The main problem with those who deny the existence of God is not intellectual. It is not because of insufficient information, or that God's manifestation of himself in nature has been obscured. The atheists' problem is not that they cannot know God, rather it is they do not want to know him. Man's problem with the existence of God is not an intellectual problem; it is a moral problem." For the wrath of God is revealed from heaven against all ungodliness and unrighteousness of men - Rom. 1:18"
To me exposition always contains tenderness. While a dramatized scene is a way of proving and guaranteeing an emotional experience for the reader, exposition assumes that the reader is sophisticated and can see the universal.
For me, listening to Beethoven and Tchaikovsky in particular, there's an emotional aspect - very different kinds of emotional aspects from those two composers, nonetheless, very strong emotional aspects from both of those composers.
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