A Quote by Eliot Sumner
I try to read, but my attention span is so bad, and ever since Netflix was invented, that's all I do in my spare time, which is really bad, but it's like a chore to read for me.
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They say nobody has the attention span to read great books early in life. If I start to read something good, I'll look and it's 86 pages already. Attention span. What are they talking about? If it's good, it'll drag you in.
One can never read too little of bad, or too much of good books: bad books are intellectual poison; they destroy the mind. In order to read what is good one must make it a condition never to read what is bad; for life is short, and both time and strength limited.
I barely read. I'm not a good reader at all. Rather than reading, I used to sit in front of the TV and watch black-and-white cowboy movies. I'm a painfully slow reader. It's really bad as an actor, because you have to read a lot of scripts. It takes me like an average of three hours to read a script, which is pretty poor.
The most important thing for a writer to do is to write. It really doesn't matter what you write as long as you are able to write fluidly, very quickly, very effortlessly. It needs to become not second nature but really first nature to you. And read; you need to read and you need to read excellent books and then some bad books. Not as many bad books, but some bad books, so that you can see what both look like and why both are what they are.
I'm not a great reader, believe it or not. It's not the vocabulary - my father made me read the dictionary when I was little - but my attention span is poor. Takes me months to read one book.
Read, read, read. Read everything -- trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You'll absorb it. Then write. If it's good, you'll find out. If it's not, throw it out of the window.
Read. Read. Read. Read many genres. Read good writing. Read bad writing and figure out the difference. Learn the craft of writing.
I make a point of not reading reviews because of the old adage, if you read the good ones then you have to read the bad ones, and if you read the bad ones, you have to, you know... And also because it's a very, very bewildering and exposing thing.
Since I got a really bad review when I was, like, 28 in 'The New York Times,' I don't read reviews anymore.
You read some good reviews and then you read a bad one, and the bad one pisses you off but there's nothing you can do. It's just an opinion.
A conventional good read is usually a bad read, a relaxing bath in what we know already. A true good read is surely an act of innovative creation in which we, the readers, become conspirators.
I have learned that my assignment is to write books for people who do not like to read books. I really try to connect with people who are not given to spending a lot of time with an open book. Pay day to me is when somebody comes up to me and says, "I never read books but I read yours." I have a heart for that person.
One of the bad things about being a filmmaker, about being me, is I can hardly read a book anymore because every time I read something, I have a poaching mentality, like, 'Oh, can this be a movie?'
Read. Read. Read. Read. Read great books. Read poetry, history, biography. Read the novels that have stood the test of time. And read closely.
I have worked really hard to get to where I am, and I like it when I read praise, and I get upset when I read bad messages. It's all part of being human.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
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