A Quote by J. E. Buckrose

An author who enjoys writing may sometimes please other people by accident, but he can never pass on to any one else the zestful thrill he feels himself. — © J. E. Buckrose
An author who enjoys writing may sometimes please other people by accident, but he can never pass on to any one else the zestful thrill he feels himself.
For my part I think the Learned, and Unlearned Blockhead pretty equal; for 'tis all one to me, whether a Man talk Nonsense, or unintelligible Sense, I am diverted and edified alike by either; the one enjoys himself less, but suffers his Friends to do it more; the other enjoys himself and his own Humour enough, but will let no body else do it in his Company.
The more imagination the reader has ... the more he will do for himself. He will, at a mere hint from the author, flood wretched material with suggestion and never guess that he is himself chiefly making what he enjoys.
When you get the ideas, that's a thrill; when you're writing the book and it's corning out well, that's a thrill; when you finish it and other people read it, that's a thrill. There are going to be reviews, of course; not everyone's going to love it. You feel sort of naked and vulnerable in a way. That's just a minor part of the process, really. If you can't take that part, you shouldn't be in the business. But there are so many joys to writing.
When you want to put something into your part that is not in the play, you must ask the author-or some other author-to lead up to the interpolation for you. Never forget that the effect of a line may depend not on its delivery, but on something said earlier in the play, either by somebody else or by yourself, and that if you change it, it may be necessary to change the whole first act as well.
When a character is born, he acquires at once such an independence, even of his own author, that he can be imagined by everybody even in many other situations where the author never dreamed of placing him; and so he acquires for himself a meaning which the author never thought of giving him.
I have read a thousand screenplays, and I have acted in a handful of them, and I have felt when it feels good, the writing, and it feels natural, and feels funny or sad or honest or whatever it may be. You connect. And I felt when it feels like writing, when it feels stale, or when it feels artificial or forced, or too theatrical or whatever.
The false man is more false to himself than to any one else. He may despoil others, but himself is the chief loser. The world's scorn he might sometimes forget, but the knowledge of his own perfidy is undying.
Art was always my main focus; I fell into writing by accident in the 1980s, writing magazine articles to pay for my studio. I have to put myself into the position of writing; sometimes it doesn't work, and sometimes it works great.
Directing a movie precludes me from being involved in any greater way. But, the job was never to do more, it was always to enable. Sometimes as a producer, you're creating and writing it, or sometimes you're writing and directing it, or other times you're there from the very beginning.
The man who lies to himself can be more easily offended than anyone else. You know it is sometimes very pleasant to take offense, isn't it? A man may know that nobody has insulted him, but that he has invented the insult for himself, has lied and exaggerated to make it picturesque, has caught at a word and made a mountain out of a molehill--he knows that himself, yet he will be the first to take offense, and will revel in his resentment till he feels great pleasure in it.
We have never considered our brand superior or inferior to any other one, and we have never spoken about our work in comparison to anyone else's. We are ourselves; we have never had the presumption to please everyone, but we believe in the utmost liberty to express oneself.
Sometimes black people really want to hold onto our oppression - 'This is ours! This belongs to us.' You can't just talk about equality for somebody else. Let's pass it on. Let's pass it on to somebody else. At the end of the day, it is all about inequality.
When I was first writing, my little prayers were, 'Please, please, please. Let something be published someday.' Then it went to, 'Please, please, please. Let somebody read this.'
I've never had a mentor personally of any kind. It feels like, generally, in the writing world or the art world, it's more of a thing in America, because you have writing programs, which we don't have. You have these amazing writers who are teachers. I never did a writing program so I never met a writer until I was published. I guess I can't really explain my compulsion for writing these kind of mentor characters.
I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.
Money alone is only a mean; it presupposes a man to use it. The rich man can go where he pleases, but perhaps please himself nowhere. He can buy a library or visit the whole world, but perhaps has neither patience to read nor intelligence to see.... The purse may be full and the heart empty. He may have gained the world and lost himself; and with all his wealth around him ... he may live as blank a life as any tattered ditcher.
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