A Quote by Harold Pinter
I do tend to think that I've written a great deal out of my unconscious because half the time I don't know what a given character is going to say next.
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I realize how much I rely on the actors to really know the lines because I tend to forget what they are exactly, even though I've written them. I don't have them memorized. But when it's going well, there is that point where the actor starts to know more about the character than I do.
I think the next 50 years are going to present the human race with challenges that so far exceed the limitations of geopolitical boundaries or nationalist identity. We're going to be up against challenges that we can barely fathom at this point. So how we embrace them and deal with them will define a great many things about where we go, but, you know, it's hard to say. We're teetering on the edge, I would say.
On every film, the clothes are half the battle in creating the character. I have a great deal of opinion about how my people are presented. We show a great deal by what we put on our bodies.
Because if you don't have a great workforce, a great higher education system, you're not going to have the next eBay, the next AmGen, the next, you know, Miasole, and not only California but America is going to fall behind a whole new competitive context which is obviously China, India, and other countries.
Each time I write a book, every time I face that yellow pad, the challenge is so great. I have written eleven books, but each time I think, ‘Uh oh, they’re going to find out now. I’ve run a game on everybody and they’re going to find me out.
I think of the snarling, cruel exchange back on the hovercraft. The bitterness that followed. But all I say is "I can't believe you didn't rescue Peeta." "I know," he replies. There's a sense of incompleteness. And not because he hasn't apologized. But because we were a team. We had a deal to keep Peeta safe. A drunken, unrealistic deal made in the dark of night, but a deal just the same. And in my heart of hearts, I know we both failed. "Now you say it," I tell him. "I can't believe you let him out of your sight that night," says Haymitch.
How can you say one style is better than another? You ought to be able to be an Abstract Expressionist next week, or a Pop artist, or a realist, without feeling you've given up something.. I think that would be so great, to be able to change styles. And I think that's what's is going to happen, that's going to be the whole new scene.
People think that if you've written a book and somebody's given you a pat on the back then, you know, it's all - you're all settled, you know? You're going to be fine. I know that if I'm not confused, and really afraid, my work isn't going to be any good.
There have been times I thought that when I got a certain point in the story, a certain character was going to do a certain thing, only to get to that point and have the character make clear that he or she doesn't want to do that at all. That long phone conversation I thought the character was going to have? He hangs up the phone before the other person answers, and twenty pages of dialog I had half written in my head go out the window.
And the next album I do is going to be different because I'm going to change. I already did that thing where I had a band - and I had a great time with a band - but it was almost like pandering to get a record label deal.
I can tell any liberal why he or she thinks what they think. I can predict to them what their reaction to any event or person is going to be, because I know them, because I have taken the time because I'm curious to study it. I know what liberalism is. I know from where it springs and derives, and I know the vast majority of people who are liberals, what they are going to do, say, and think about.
And if I get a little chemically imbalanced in the head, like we all know I tend to get sometimes, and I don't want my parents or brother knowing, Will's like, 'We'll deal with it.' He's never said, 'I'll fix it up.' He just says, 'You're not up to going back to uni to finish your Honours this year? Big deal. There's next year. We'll deal with it.'" She nods. "That's what he does well.
At the time, I used to say, "We should market this like Everybody Loves Raymond. It's just a guy dealing with his family." Instead, it was irresistible to show all these funny people. So, I actually think this could be more inviting to a new audience because they can just watch one character, find out what's going on in his life, and then meet another character and find out what's going on in her life, and then see how it intersects the other one.
Because I've been a full professor doing research and lecturing at the University of California, I didn't have a lot of time to write, so I have always used my unconscious a great deal to do the really heavy lifting.
I think I mainly climb mountains because I get a great deal of enjoyment out of it. I never attempt to analyze these things too thoroughly, but I think that all mountaineers do get a great deal of satisfaction out of overcoming some challenge which they think is very difficult for them, or which perhaps may be a little dangerous.
If you notice an unconscious fantasy coming up within you, you would be wise not to interpret it at once. Do not say that you know what it is and force it into consciousness. Just let it live with you, leaving it in the half-dark, carry it with you and watch where it is going or what it is driving at.
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