A Quote by Ira Levin

Before that I wanted to be a magazine illustrator - I probably would have painted Gothic scenes. — © Ira Levin
Before that I wanted to be a magazine illustrator - I probably would have painted Gothic scenes.
I wanted to work in Hollywood. I was captivated by it. I read 'Premiere Magazine' and 'Movieline Magazine' and 'Us' before it was a weekly magazine.
Balancing an illustrator and author can be tricky, but I was an illustrator mostly before I wrote my books.
I hate the word gothic but I would like to try doing something like that. A gothic sound, not rock, but gothic. There's a difference.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
I set up this magazine called Student when I was 16, and I didn't do it to make money - I did it because I wanted to edit a magazine. There wasn't a national magazine run by students, for students. I didn't like the way I was being taught at school. I didn't like what was going on in the world, and I wanted to put it right.
Obviously, The Glamazon has been covered in every wrestling magazine known to man, including WWE Magazine, however, I've always wanted to do a fitness magazine.
I was a magazine illustrator for many years before I became an actor, and I used to think, 'Oh, God, all those wasted years!' But now I think it's just been one big enterprise of illustrating. I used to do it with colored pencils, and now I do it with this voice and this set of limbs.
Nico was gothic, but she was Mary Shelley gothic to everyone else's Hammer horror film gothic. They both did Frankenstein, but Nico's was real.
With sex scenes and intense scenes, in general, a lot of it is preparation before the scenes happen, so that you don't have to worry about it on set.
First, at a certain point, I wanted to have my own magazine, but I never could. Why? Because I am not commercial enough. The people who would have been able to give me my own magazine, they were not insulting me, but they would simply say, "It wouldn't work for you." And that was a big disappointment to me.
My very first venture was a national student magazine to try to campaign against the [Vietnam] War. And so I wanted to be an editor. I wanted to bring the magazine out. And in order for the magazine to survive I had to worry about the printing and the paper manufacturing and the distribution. And, you know, I had to try to, at the end of the year, have more money coming in than going out.
I never wanted to be a writer. I wanted to be a book illustrator. I used to hurry home from school and draw.
I ended up buying business.com for $150,000 because I wanted to make it a magazine. It would have been a 'Time'-type magazine: how to do business on the Internet. And I was offered a lot of money for that domain. I played two buyers against each other.
When I was doing my research for 'Branded,' I'd meet groups of teenagers and preteenagers or tweens, and they would laugh at a magazine spread in a women's magazine or teen girl magazine and say, 'I'd never buy this outfit. I know these girls are starving themselves.' But they probably would go out and buy the thing eventually.
With 'The Keep,' I began with a theory about pitting the isolated disconnection of the gothic realm against present-day hyperconnectedness. I emerged feeling that the gothic genre is all about hyperconnectedness - the possibility of disembodied communication - and that we now live in a kind of permanently gothic state.
If [Bill Shawn] liked the piece, then he would run it. But he wanted the magazine to be something that was more than just a weekly event. And as a result you could pick up a New Yorker under him, as I mentioned before, a year from then or 10 years or 20 years and there would always be something worth reading in it.
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