A Quote by Jess Row
That became my aesthetic - a very Chekhovian, American realist aesthetic in the tradition of Raymond Carver, Richard Ford, and Tobias Wolff. The perfectible, realist story that had these somewhat articulate characters, a lot of silence, a lot of obscured suffering, a lot of manliness, a lot of drinking, a lot of divorces. As my writing went on, I shed a lot of those elements.
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The biggest takeaway from a memoir is that you have to play fair. Within the first draft, I was writing very angrily because I had a lot of resentment and a lot to process. Through revision is where a lot of learning happened and a lot of forgiveness happened.
I feel like a lot of the portrayals of, in particular, younger minority ethnic characters on television, a lot of their dialogue, a lot of their characteristics, a lot of their personality in a writer's eyes, is kind of propelled through their ethnicity.
I read an awful lot in college - a lot of Dickens, a lot of 19th century American stuff, a lot of old mysteries. Maybe it's helped me attain a certain fluidity with my style.
I think, a lot of times, network shows are under a lot of mandates. There's a lot of moving pieces. There's a lot of money. There's a lot of people who are going to be disappointed if anything goes wrong.
I do a lot of stairs, a lot of planks, a lot of squats, a lot of treadmill, a lot of screaming - and I do it four times a week.
I read a lot of scripts, and there's a lot of good writing and a lot of OK writing and a lot of crappy writing. And even with the really good writing, it doesn't necessarily speak to me.
I grew up in a very music-loving home with a lot of records, a lot of TV, a lot of radio, a lot of video - VHS cinema, basically.
I had a lot of success in big tournaments as well - won Masters Series in Rome - so a lot of things are coming together. I've done a lot of hard work in the off-season. A lot of physical work, a lot of work on my serve and on my return game.
The trap in Hamlet is he's the most passive of Shakespeare's characters. He's not a Richard III, not out there taking a lot of action. It's a lot of asides and soliloquies where he's wrapped in angst, and that's not a very interesting character.
I don't like traditions, I am very personal, very independent, I don't like intimate ladies, I mean in German lieder there's a lot of copy, a lot of imitation, a lot of tradition, and this I have put it aside.
I think ultimately it's just time management. You're just doing a lot more stuff. You're doing the same stuff, you're writing and you're producing, but it just comes with a lot of other things. A lot of long term thinking and plotting things out for the future, bringing elements together. I have a lot of support.
I like Raymond Carver's poetry a lot.
The film business talks a lot. People talk a lot. There's a lot of chatting. There's a lot of behind-the-scenes chatting. There's a lot of talking before you go and do it.
There's a lot of women now with a whole lot of style but they are not necessarily song stylists. Some of their style is a lot like me and a lot of people sound a lot alike - you can't tell them apart.
I listened to a lot of reggae music, a lot of Caribbean, a lot of gospel, a lot of rock, a lot of country, hip-hop... you know, so it just gave me perspective when it came to music and what I liked.
I think, you know, people think of the city of New Orleans as a parochial place where it's a lot of folks who are from there and a lot of big families, a lot of musical families, a lot of history, a lot of tradition, but I like to think of New Orleans as an idea.
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