A Quote by Ivy Compton-Burnett
At a certain point my novels set. They set just as hard as that jam jar. And then I know they are finished.
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An important meeting point for me was realizing the similarity between a DJ set and a Grateful Dead set: I grew up listening to how the Dead would take a song and just jam on it, and then transition into another song.
About 60% of the people stopped when we had 24 jams on display and then at the times when we had 6 different flavors of jam out on display only 40% of the people actually stopped, so more people were clearly attracted to the larger varieties of options, but then when it came down to buying, so the second thing we looked at is in what case were people more likely to buy a jar of jam. What we found was that of the people who stopped when there were 24 different flavors of jam out on display only 3% of them actually bought a jar of jam whereas of the people who stopped when there were 6 different flavors of jam 30% of them actually bought a jar of jam.
I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.
There was a point where I was making four movies a year. I was always on a set. I had no stories to tell. I was feeling empty. My life was just luggage and hotels and from set to set, from character to character. And one day, I said, 'And where is mine?' You know? And the moment I started to feel that fear, I stopped and I slowed down.
What we found was that of the people who stopped when there were 24 different flavors of jam out on display only 3% of them actually bought a jar of jam whereas of the people who stopped when there were 6 different flavors of jam 30% of them actually bought a jar of jam.
I would encourage you to set really high goals. Set goals that, when you set them, you think they're impossible. But then every day you can work towards them, and anything is possible, so keep working hard and follow your dreams.
We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.
I revise constantly, as I go along and then again after I've finished a first draft. Few of my novels contain a single sentence that closely resembles the sentence I first set down. I just find that I have to keep zapping and zapping the English language until it starts to behave in some way that vaguely matches my intentions.
Works of art are not so much finished as abandoned. Perhaps poems can be perfect. A short-short story might even be perfectible, as effective and enjoyable for one reader as the next. But novels and other book-length narratives are great rambling things that always contain some flaws. For works of any length, there comes a point when your continued tinkering won't improve the whole, but will just trade one set of problems for another.
We either put out 6 different flavors of jam or 24 different flavors of jam and we looked at 2 things. First, in what case were people more likely to buy a jar of jam?
My first novel, 'You Must be Sisters,' was started in Pakistan. I've wrote several novels and a TV drama set or partly-set there.
If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
We were filming the West Wing on the set one day in DC and Madeleine Albright comes by the set. I mean, when does that happen? You turn around and there's the former Secretary of State just sitting there. After the Clinton administration finished we were filming right outside the White House and John Podesta comes walking up while we're out there filming. Just strolling by the set - the former Chief of Staff! Things like that would happen all the time.
One set at extreme intensity does the muscle-building job. It must be stressed that the one final, all-out set I do takes me to the very limit of my capabilities. If you feel you can attempt a second set, then you couldn’t have been pulling out all the stops during the first set. It's not pretty, but it works.
Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
I keep like simple thing in my head, so obviously is working. Then it's luck. To be honest, look at set point. I hit one of the worst drop shots I ever hit and he hit a frame It's pure luck, you know, to haven't drop a set. So you need to have it sometime, and I hope I will have more.
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