A Quote by Geoff Dyer

When you are lonely, writing can keep you company. It is also a form of self-compensation, a way of making up for things—as opposed to making things up—that did not quite happen.
I am very aware now that music is a business, but there is also a way to go about making music that is true to yourself as opposed to doing, you know, just going through the motions and making things that would just be commercially successful.
I'm attracted to that mix of things that are very refined and polished, and things that are almost accidental. I feel like the best things happen when you're on the path to making something, even if where you end up is not where you thought you would.
I absolutely love writing about the things that scare me, the things that keep me up at night. I don't quite know why. Perhaps because so many things do scare me, and this is my subconscious way of trying to exercise some control over things that go bump in the night!
You learn different things through fiction. Historians are always making a plot about how certain things came to happen. Whereas a novelist looks at tiny little things and builds up a sort of map, like a painting, so that you see the shapes of things.
When I was a kid, I didn't have any women of color to look up to in Australia. So a lot of the things I do, I keep in mind that I think I'm making my younger self really proud.
I see a vision of a great rucksack revolution thousands or even millions of young Americans wandering around with rucksacks, going up to mountains to pray, making children laugh and old men glad, making young girls happy and old girls happier, all of 'em Zen Lunatics who go about writing poems that happen to appear in their heads for no reason and also by being kind and also by strange unexpected acts keep giving visions of eternal freedom to everybody and to all living creatures.
That's what it's all about - making art is making something live forever. Human beings especially - we can't hold on to them in any way. Painting and art is a way of holding onto things and making things go on through time.
You get really scrappy when you're making things for zero dollars, and you just have to keep thinking like that. It's not like, 'Oh, we now have a little bit more money, let's do things differently.' If you just keep boiling it down to the simplest possible way to make it, I think that always ends up being the best.
Also, if you have an accident, you can't start to dance again at the top, you're too weak; you start with the easy things - the way you did them when you were young, and come up up up, the way you did then.
I hate to keep repeating my mantra, but, boy, there are things happening that we did not expect to happen in any way, shape, manner, or form.
With Fincher, you can take chances and try things. And what happens is that any pretension and preparation you've done, all the square, intellectual work, you can't keep that up for 40 takes. It breaks down, and new things start popping up. This, for me, is the most exciting thing about film-making.
There's a sense of knowing when to stop and take a break from things, to step back from the work you're making, and of changing things up to keep them interesting for yourself.
For all of my class projects, I somehow turned it into a commercial parody or put on plays. My whole thing was seeing things from a big picture, from beginning to middle to end: making a costume, doing voices, writing a script, making it all happen.
I also thought of playing improvisational jazz and I did take lessons for a while. At first I tried to write fiction by making up things that were completely alien to my life.
For me, making films is about trying to work something out by myself in quite a lonely way. I find the whole thing very lonely really.
I come from a family of craftsmen. We like to make things with our hands. Better than the pleasure of making money is the pleasure of making the product and saying, 'Wow. I did that.' I couldn't see myself doing anything other than making good things to eat.
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