A Quote by Dorothy L. Sayers
Well, it seems like a miracle to be able to look forward-to-to see all the minutes in front of one come hopping along with something marvellous in them, instead of just[Pg 295] saying, Well, that one didn't actually hurt and the next may be quite bearable if only something beastly doesn't come pouncing out--
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You said you didn't want to get involved with me,that one of us would get hurt and how you couldn't bear it. Well that just isn't good enough..Look what happens to people just living their lives. They get hurt, it's not fair they get hurt but they do, all the time, no matter how careful they are. Somebody can just just come along and hurt them, for no stupid reason.
Opportunities may come along for you to convert something -something that exists into something that didn't yet. That might be the beginning of it. Sometimes you just want to do things your way, want to see for yourself what lies behind the misty curtain. It's not like you see songs approaching and invite them in. It's not that easy. You want to write songs that are bigger than life. You want to say something about strange things that have happened to you, strange things you have seen. You have to know and understand something and then go past the vernacular.
'Warm Bodies' - I was contractually obligated to deliver a PG-13 movie. But, like, I wanted it to be PG-13 because it's for younger people, and I don't want them not to be able to see it. I mean, you have to kind of think about the marketplace as well.
When I'm in the process of making a movie I'm not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences, some of which may not be as pleasant as I'd like! I know one thing, however. Many viewers may come out of the theater not satisfied, but they won't be able to forget the movie. I know they'll be talking about it during their next dinner. I want them to be a little restless about my movies, and keep trying to find something in them.
The way I wrote it is a nice and enjoyable way to write stories, to pretend to say something when you're really saying something else. "Hey guys, come, I'll take you a football match." They all come - and you suddenly take them to watch theater play on the stage instead. In Istanbul Istanbul, I pretend to talk about torture and politics, but I don't actually. Instead I talk about hope and hopelessness, darkness and light, good and evil, love and separation.
I see myself helping the next generation of dancers who come along, helping them to keep the dance focused, so we don't get into a position where they're saying in 2050, or whatever, that around 2001 or 2002 or something the dance died.
When the kids see the poverty in their neighborhood, but they see these successful kids who come from the countries they come from, come from Mexico, come from Korea, come from the Philippines, come from Salvador, and were doing really well, it motivates them to do better. The former students give them a vision of what's possible.
Advertising agencies come to you and they are great fans, they are great creative people themselves, but they ask you to do something, and you say, "Well, we will, we'll create something together." And it is work. It's like you're doing something and they're saying, "Change this" and "Change that." It's not hard, horrible work, but creatively it's not just freedom.
Being able to influence the outcome, being able to do something about it, to be able to stop the bleeding. You're not being useful if you're just standing there going "Oh, that's awful!" You're only useful if you actually do something about it and I think that goes for everything. If you actually do something about what's in front of you, then you are actually contributing and you haven't got time to be self-centred or sorry for yourself. You should be doing something about the person you really should feel sorry for.
I remember having a discussion at some stage and saying a coffee machine would do well in the training ground. Everyone was like, 'No, in England, we drink tea.' I was like, 'OK, I was just saying that I think coffee works as well.' Next thing you know, after the international break, we had this massive coffee machine come in from Nespresso.
I'd like it to be remembered as you had some fun. We're only here [living] for some fun. I think if you learn something, all well and good, but we're only here to give you some fun. Along the way, you may find out something.
The time came around where the label was like, "Well, if you want something to come out in early 2017, it's going to have to be done by, like, so-and-so." So I plucked some of the old songs and wrote some new ones. Everybody keeps asking me, "Is this your L.A. record?" I was doing songs in a bedroom in New York, I was doing it in a bedroom in L.A. The only difference is when I look out the window, there's palm trees instead of snow.
Just when it seems like life is getting good, something always has to come along and ruin it.
It's kind of like when you look at yourself in the mirror and you say your name. And it gets to a point where none of it seems real. Well, sometimes I can do that, but I don't need an hour in front of a mirror. It just happens very fast, and things start to slip away. And I just open my eyes, and I see nothing. And then I start to breathe really hard trying to see something, but I can't. It doesn't happen all the time, but when it does, it scares me.
Suppose that there is something which a person cannot understand. He happens to notice the similarity of this something to some other thing which he understands quite well. By comparing them he may come to understand the thing which he could not understand up to that moment.
When we eat something at a restaurant, however simple it may look, there's something in it that makes you think, 'Well, I couldn't quite do this from home.'
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