A Quote by Glen Duncan
This is love: You stop bothering about the universal, the general, get sucked instead into the local and particular: When will I see her again? What shall we do today? Do you like these shoes? Theory and reflection are delicate old uncles bustled out of the way by the boisterous nephews action and desire. Themes evaporate, only plot remains.
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Remember: Plot is no more than footprints left in the snow after your characters have run by on their way to incredible destinations. Plot is observed after the fact rather than before. It cannot precede action. It is the chart that remains when an action is through. That is all Plot ever should be. It is human desire let run, running, and reaching a goal. It cannot be mechanical. It can only be dynamic.
The purpose of a fishing trip is not to catch fish. Bringing home meat is important, but it is more symbolic than necessary, as the new morality of catch-and-release has shown. What is important is what happens between people on fishing trips, especially between uncles and nephews, fathers and sons, old men in general and young boys in particular, it is one of the few times men are together without women.
When we get out of the glass bottles of our ego, and when we escape like squirrels turning in the cages of our personality and get into the forests again, we shall shiver with cold and fright but things will happen to us so that we don't know ourselves. Cool, unlying life will rush in, and passion will make our bodies taut with power, we shall stamp our feet with new power and old things will fall down, we shall laugh, and institutions will curl up like burnt paper.
I get heartfelt thanks from all kinds of people. Today I heard from a waitress in Georgia who has lost her job and is trying to figure out how her local bank can change the terms on her credit card, and I heard from a physicist at a major research university who wants to explain a better theory of financial stress tests.
My sister will die over and over again for the rest of my life. Grief is forever. It doesn't go away; it becomes a part of you, step for step, breath for breath. I will never stop grieving Bailey because I will never stop loving her. That's just how it is. Grief and love are conjoined, you don't get one without the other. All I can do is love her, and love the world, emulate her by living with daring and spirit and joy.
At whatever time highly skilled physicians shall have developed the healing of illnesses by means of foods, and shall make provision for simple foods, and shall prohibit humankind from living as slaves to their lustful appetites, it is certain that the incidence of chronic and diversified illnesses will abate, and the general health of all mankind will be much improved. This is destined to come about. In the same way, in the character, the conduct and the manners of men, universal modifications will be made.
Our submission to general principles is necessary because we cannot be guided in our practical action by full knowledge and evaluation of the consequences. So long as men are not omniscient, the only way in which freedom can be given to the individual is by such general rules to delimit the sphere in which the decision is his. There can be no freedom if the government is not limited to particular kinds of action but can use its powers in any ways which serve particular ends.
Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again.
I didn't want to do comedy again. It is way harder when you are doing comedy. You can't just concentrate on the character and the plot. In comedy, the writers, instead of obsessing about character and plot, obsess about the jokes.
The way I've talked about my research process is that it was like magpies. I was just sort of moving through all these books and when something shiny would pop out I'd be like, Ooh, I love it! and I'd pluck it out. It's fun to figure out how to use those bits you really love - like I'd read about gold shoes with cork heels. Obviously, Margaret would have to wear those shoes.
Almost all the other fellows do not look from the facts to the theory but from the theory to the facts; they cannot get out of the network of already accepted concepts; instead, comically, they only wriggle about inside.
You can only see 'Star Wars' for the first time once, and people are watching it again and again and again, and it's a testament to the strength beyond the plot twists that it has. The narrative strength that it has is that it can be enjoyed even though you know the biggest plot elements in it.
There will always be a part of you that misses her. You'll see something that reminds you of her and want to tell her about it, only to realize she's not there anymore. Then you'll feel her loss all over again. (Ravyn) You're not helping me, Ravyn. (Jack) I know, buddy. But you will eventually make peace with yourself, and that's the most important thing. Eventually, you'll even be able to smile again when you think about her. (Ravyn)
I love music in general. It's like girls and their clothes and shoes; when you love shoes, you love shoes. So, for me, I think it's a really dangerous thing to say I'm going to write the best dance song in the world.
Each time I'm starting to work on a film, even if I love to settle the plot in the real world, I start to think about the plot as a fairy tale, or a dream, or a nightmare... As if it was the best way to tell the truth about characters or narration, instead of realism.
Instead of trying to see things my way, I try to see things her [wife's] way, and if it honestly makes sense then I will submit to her instead of being a tyrant and a dictator.
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