A Quote by Joan Didion
The last sentence in a piece is another adventure. It should open the piece up.
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Steakhouses serve these big steaks. The first piece is hot, and the last piece is cold. The way I like to eat is to try three or four cuts of meat. People should actually be eating less meat, and the meat they eat should be special.
That is the trouble, everybody is giving everything in the world a piece of their minds. Whereas what we want is not a piece of somebody's mind, even the best mind, so much as an open heart and an open spirit.
If you're writing a piece for the Boston Pops, the balance is towards one end. If you're writing a piece for a chamber music society, then it's towards another point. I won't make a final answer on that. I think it changes with every piece.
Love is when you have a really amazing piece of cake, and it’s the very last piece, but you let him have it.
The ultimate point of a piece for me is that it drives the next one. Does it open new doors? That's the success of a piece.
I had a very linear story line for this particular play, and I wanted to open the piece up a bit, so I started doing that with my writing. I would describe fragments of scenes on index cards, then move the card around to see how it changed the piece.
A good compromise, a good piece of legislation, is like a good sentence; or a good piece of music. Everybody can recognize it. They say, 'Huh. It works. It makes sense.'
It was missing a piece. And it was not happy. So it set off in search of its missing piece. And as it rolled it sang this song - "Oh I'm lookin' for my missin' piece I'm lookin' for my missin' piece Hi-dee-ho, here I go, Lookin' for my missin' piece.
Theater is about interpretation and what an actor and what a director brings to a piece too. I'm open to it every time I work with a director and a group of actors. I have to be open to that interpretation. I'm not one of those hysterical playwrights that come and say, "This is not what I intended to do." It's one rendition of the piece.
It is a question in that case of breaking up one piece of art, and whether that piece of art can be as best as possible put back together. So it's an argument to say, maybe that's one of those instances, like the bust of Nefertiti, I think that should be given back [Egyptian piece currently in Neues Museum in Berlin]. It's one of those pieces you look at and think that would probably be the right thing to do.
The couture is what a certain kind of clientele wears. But it's amusing to do because you do it piece by piece. It's another concept. It's much more work.
I'm not shy about trying to find what truth there is in any genre, whether that be an action piece, a sci-fi piece, a small indie film, or a play. I'm open to it all.
My mom's a screenwriter, and before that, she was an actress, and my father was an actor; my stepfather was a director, so I was on sets a lot as a kid. I loved the magic of the set. You walk in, and it's a living room, and you walk outside, and it's just a piece of wood held up by another piece of wood.
Imagine the peace symbol. The peace symbol has three pieces in it. One piece is emotion, that's your body. Another piece has spirit in it, that's your fuel. Another piece has intellect in it and that's your steering wheel. You can never overdo the fuel that goes into the body, which is the emotions and the steering wheel to drive it.
I'm really into the recycling of art. That one piece of art inspires another piece of art, which inspires another piece of art. I really like that idea.
I think that the most significant, guiding principle was that we wanted to return to a three-piece live form, whereas we became a four-piece for the last record because the songs had more extensive arrangements and we needed a keyboard player to pull off a lot of those songs. We missed the energy, and more push-and-pull of the three-piece.
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