A Quote by Frank Deford
To write long pieces - or not even long pieces - to write stuff like the columns of Red Smith and people like that - they're different then what it is today. Everything today is based on x's and o's. Inside baseball, it's all, 'Who's gonna win?' or you're comparing things - it's not as thoughtful as it used to be.
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It's funny - for a long time, I didn't know I was writing a book. I was writing stories. For me, each story took so long and took so much out of me, that when I finished it, I was like, Oh my gosh, I feel like I've poured everything from myself into this, and then I'd get depressed for a week. And then once I was ready to write a new story, I would want to write about something that was completely different, so I would search for a totally different character with a different set of circumstances.
Women who have understood fashion and style for so long have always known it's not about having more pieces. It's about having the right pieces and having the pieces that are of a great quality and look like you know what you're doing. You don't have to have a million things on.
Even today, I notice that some of my pieces are explicitly tonal; there are actually tonics and dominants. And then there are pieces that are not tonal. I tend to think that there's a dichotomy that has to do with the way pitches are structured.
When I initially read the script, it goes inside and comes out different things even without commenting on any stuff. And then, those pieces are taken out and then spread out through the movie.
I gotta go on doin' it the way I see it...I got no choice but to take it like I see it. I'm here to have a party while I'm on this earth...I'm gettin' it now, today. I don't even know where I'm gonna be twenty years from now, so I'm just gonna keep on rockin', cause if I start saving up bits and pieces of me...man, there ain't gonna be nothing left for Janis.
I don't write as much now as I used to, but I write. The lines still come, maybe periodically, and I'll go through these little bursts of time where I write a lot of things then a long period of time where maybe I don't write anything.
I think probably the thing I'm worst at is the most ephemeral stuff, like blogs. I find it really hard to write. And I'm often been asked to write columns for papers in Peru. And I can't. I would die. There's no way I could write a column.
I like to mix pieces in my art direction from the '60s or the '40s and the '90s and present-day stuff. To me, that feels very real. When I go into people's houses, it's not all today.
I feel very protective in the first draft, when all the pieces are coming together. I work in a way that is not linear or chronological at all, even with the short story. I will just be writing bits and pieces, and then when I have all the pieces on the table, that for me is when it feels like the real work begins.
I don't write literary fiction - I write books that are entertaining, but are also, I hope, well-constructed and thoughtful and funny and have things to say about men and women and families and children and life in America today.
I can't write anything for myself. I can write when I hear like [John] Coltrane play something; I used to write chords and stuff for him to play in one bar. I can write for other people, but I don't never write for myself.
Whether experimenting with the latest trends during my teenage years or turning to quality designer pieces to show off my more refined style today, I've always turned to places like T.J.Maxx to find those pieces that are truly me.
That's what I tried to create, even though they are new pieces. I wanted them to feel like very special pieces that you can hold on to for a long time. I didn't want them to be too high fashion, I wanted them to be more timeless.
I like as much time as I can get and I'll do whatever I think is helpful to prepare for a role. Sometimes it's practical research, meaning if I had to write shorthand, I'd learn how to write shorthand. Or if I have to know how to dance a certain way, I would learn that. And then there's just research of talking to people similar to the characters I'm playing. And there's stuff that I just feel is inspiring, whether it be music or a painting or a photograph. I've used a lot of Nan Goldin's photos in the past to inspire me. I use certain paintings and pieces of music.
It's even easier to write about the past now that I'm happy and have better stuff to write about. That's why someone like Bob Dylan can make so many records over so long a time; it's not like he's been sad all this time. He's really successful!
We like the John Gruber model - he writes some long stuff that's very thoughtful and analytical, and then other stuff, he just adds a bit of commentary. I like that.
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