A Quote by John Sayles
There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.
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There were about seventy-nine squillion people in the world, and if you were very lucky, you would end up being loved by fifteen or twenty of them.
When I was fifteen I wrote seven hundred pages of an incredibly bad novel - it's a very funny book I still like a lot. Then, when I was nineteen I wrote a couple hundred pages of another novel, which wasn't very good either. I was still determined to be a writer. And since I was a writer, and here I was twenty-nine years old and I wasn't a very good poet and I wasn't a very good novelist, I thought I would try writing a play, which seems to have worked out a little better.
I remember the first show I had there were about 3 people, at least there was somebody. The next one was about 30. Then a couple years later there were 300 people and before I knew it there were 3,000... Then one day, I opened my eyes and there were 300,000 singing all my lyrics.
Loving people, and allowing yourself to be loved, was only worth the risk if the odds were in your favor, but they quite clearly weren't. There were about seventy-nine squillion people in the world, and if you were very lucky, you would end up being loved by fifteen or twenty of them. So how smart did you have to be to work out that it just wasn't worth the risk?
One of my great surprises when I was in America was about twenty-five years ago in Harvard, hearing Randall Jarrell deliver a bitter attack on the way poets were neglected. Yet there were about two thousand people present, and he was being paid five hundred dollars for delivering this attack.
I also got to know Roger Corman a bit while we were on location in Mendocino. And then, subsequently, a woman who also worked on The Dunwich Horror named Tamara Asseyev and I teamed up and co-produced a picture that I wrote and directed, called Sweet Kill, that Roger Corman's then-new company distributed.
Films are a very tangible thing. It's making something with your hands. I think all of these guys - Roger and the whole cast of this movie - what they did was they were willing to make mistakes. They were willing to make movies that were really bad. But they learned.
From the very beginning, we were all a hundred and ten percent about the music, from the very early days when we could barely play our instruments, and we were just covering other people's songs when we were in high school.
I have known a handful of producers who actually were equal or superior to the writers with whom they worked. These producers were a new kind of nonwriting writer hatched by the movies - as Australia produced wingless birds. They wrote without pencils or even words. Using a sort of mime-like talent, they could make up things like writers.
The sacrifices of our people were very great. Out of a population of one million, 28,000 were killed, 12,600 wounded, 10,000 were made political prisoners in Italy and Germany, and 35,000 made to do forced labour, of ground; all the communications, all the ports, mines and electric power installations were destroyed, our agriculture and livestock were plundered, and our entire national economy was wrecked.
I produced and directed a movie a couple years ago that won some awards that Samuel Goldwyn released called 'The Last Good Time'. I wrote, produced and directed it, but I wasn't in it.
The last four or five hundred years of European contact with Africa produced a body of literature that presented Africa in a very bad light and Africans in very lurid terms. The reason for this had to do with the need to justify the slave trade and slavery.
Drama is more universal. We all cry about the same stuff. But comedy is very specific: It depends on where you were born, how old you are, your social-economic status. It's very complicated to make people laugh.
There were 33,000 missing Hillary [Clinton] emails. Nobody could find them. She claimed she deleted them. She handed over 30,000 to the State Department. They had them. They analyzed them. There are 30,000 she deleted. But people claimed that they had them. Like Kim Dotcom and there were others, that claimed they knew where they were, but nobody could produce them.
I think whenever we think of our hometowns, we tend to think of very specific people: with whom you rode on the school bus, who was your next door neighbor you were playing with, who your girlfriend was. It's always something very specific.
My father writings stuff was always his personal stuff, like about the day we had to put our dog down, or finding old photographs of his father, or passing a guy he went to boarding school with on a street in New York. Very specific, detailed, descriptive columns that he wrote. I think in a way, it could be argued that my best songs are that way too. They're almost journalistic in that they're very clear, and very specific, and they describe things.
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