A Quote by John Gimlette

I don't therefore know how to write for the big papers. It must be kids - students - and retired people. And the reality is they are overwhelmed with people sending in their holiday stories and bits and pieces and so on.
Most people, they get overwhelmed by the religious stories, the nationalist stories, by the economic stories of the day, and take these stories to be the reality.
Sometimes I regret that the wonderful children's stories that have been made into movies were - people no longer read 'The Wizard of Oz'; they think they know the story. They don't know anything about all the bits and pieces they had to leave out.
These kids are more savvy. They know what people are wearing instantly. It's brutal. We're the ones sending the dresses and we can barely keep up; these kids see it before we do. So we know they're plugged in. Now they can forget that for a few hours. Just go big with ideas! Experiment!
To say that you have taught when students haven't learned is to say you have sold when no one has bought. But how can you know that students have learned without spending hours correcting tests and papers? . . . check students understanding while you are teaching (not at 10 o'clock at night when you're correcting papers) so you don't move on with unlearned material that can accumulate like a snowball and eventually engulf the student in confusion and despair.
When you write stories linking reality to a big storyline, people relate to it better.
Now I've got a fairly good grasp of the 18th century on what was common and what people thought. But I don't write in order. I write bits and pieces and sort of glue them.
They always say, doing what I do for a living, write what you know and then people will respond to it. I luckily had a very charming, lovable mom who I think everybody could see bits and pieces of their mom in. All I had to do was write a character that was like my mom, and it made my life easier.
For some people, the beginning is a time of complete chaos. You see bits and pieces of what is before you. You have a sense of what it is you must set out to do. But nothing will form yet. When you sit down to write or paint or form movement, it's like stepping over a cliff or into a dense fog. All you can do is trust that this impending masterpiece is going to somehow manifest itself as you work. But you do know that there is something specific ahead, and you feel the excitement of that.
I always like to borrow bits and pieces of things. There's a line between jumping on something that's happening and incorporating bits and pieces of it into my work.
I can remember the day when all that a professor was supposed to do was to mark "C minus" on students' examination papers, then gohome to tea. Nowadays they seem to feel that they must know just how much we (outside the university) eat, what we do with our spare time, and how we like our eggs.
I often suggest that my students ask themselves the simple question: Do I know how to live? Do I know how to eat? How much to sleep? How to take care of my body? How to relate to other people? ... Life is the real teacher, and the curriculum is all set up. The question is: are there any students?
The only way to know everything is to learn how to think, how to ask questions, how to navigate the world. Students must learn how to teach themselves to use new tools, how to talk to unfamiliar people, and basically how to be brave.
Filmmaking materials are in the hands of more people now than ever before. I would like to think that the more people have these tools, the more people will learn how to use them, it's another argument I would argue for, personally, for art's education. Because there are kids who aren't that literate in screen language and they've got to know how people select shots, how people edit audio, how people combine things to make what they see on the screen. It would be like the 15th century or the 16th century in Germany, and somebody amends a printing press and you don't know how to read and write.
I work in bits and pieces. When I'm touring it's difficult. After touring, when I have space and time, it's a process, something I've been doing since I was 10 or 11 years old. I collect lyrics, melodies, bits and pieces, and finally it all comes together. It's hard to say - I've been trying to figure out how the process works.
We [Americans] know Martin Luther King Jr. as a statue. We know him as a holiday. We know him as a speech. We don't know him as a man. Most people don't even know the whole speech, just "I have a dream." They don't know what his speaking voice was like, how he looked at his wife, or that he had four kids.
You write one book and you're ready for fame and fortune. I don't know that people are spending the time and attention on learning how to write-which takes years. Everybody sees the success stories.
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