A Quote by Julia Holter
Most records are usually not united by one specific story, but that seems to be something that I like and that I find easy to do.
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For each movie that I do, I like to find a specific language to tell the specific story.
I like to encourage people to give locally. It's easy to find and call a local no-kill shelter and see what specific things they need, and believe me, all of them are always in need of something.
My favorite records are, like, The Pretty Things' 'Parachute' and 'S.F. Sorrow' and The Mothers of Invention's 'We're Only in It for the Money' and The Kinks' 'Village Green Preservation Society' - these records that have a story - even if it's not a literal story - because of how they're sequenced and flow. It's like a novel with sound.
What other, newer democracies find relatively easy - conducting an election, the counting of votes, the peaceful transition of power - seems to have befuddled the United States (U.S.).
You can make records from now 'til doomsday, and there are something like 50,000 records released every year, but the public gets to hear very few of these. They just won't know. They might be great records, but how in the world is the public supposed to find out about them?
We try to make each situation specific to the person. At the beginning of the season, we come up with, like, 50 to 100 ideas, which we workshop and then we call around to see who is interested in doing something like that. Once we find the people, we make the bid specific to them. A lot of it is about where you can get people to go physically, which is a little tricky because most actors and musicians are kind of hermits-they like to stay in their houses.
New York police force seems like unlike any other in America and even the world. There's a very specific culture dynamic, a specific chemistry. There's almost a specific set of rules because of the city and the size of it.
It's so easy to call something a Jewish story or a gay story or a woman's story. Aesthetically, if a story is not universal, it has failed. Your obligation is to the story. One rule creatively, and emotionally, is its universality.
Some novels present a story form many points of view. Most movies tell only one person's side of the story. Sometime it's easy to use the strongest point of view, or find the character with the most dramatic experience. It depends on which themes the scriptwriter wants to explore.
Someone who can search for something is happy. Searching gives a meaning to life. Nowadays it’s not so easy to find something you might be looking for. The most important thing, however, is the search itself, the way you take. It’s not so important where it leads. that’s why my characters are always looking for something, maybe only a cat, a sheep or a wife, but that is at least the beginning of a story.
One of the ways in which writers most show their inventiveness is in the things they tell us about how they write. Generally speaking, I don't like to make a plan before I've written a story. I find it kills the story - deadens it, makes it uninteresting. Unless I'm surprised by something in a story, the reader's not going to be surprised either.
I think the language of sacrifice is particularly important for societies like the United States in which war remains our most determinative common experience, because states like the United States depend on the story of our wars for our ability to narrate our history as a unified story.
I'll find something in what I read that snags my imagination in emotional terms; it resonates with me for reasons more complicated than just that it seems like it would make a good story.
It seems like journalism over here in UK, in general, is at a higher level: not overrun by all these teeny little blogs. There's more of a historical context for it or something. It seems like people review something or take a listen to something and they really do their homework. That's just what it seems like.
A ten- or twelve-page story seems too easy, which is a funny thing to say considering that writing a decent short story is devastatingly difficult. Yet it still seems easier than a novel. You can turn a short story on a single good line - ten pages of decent writing and one good moment.
It's much more difficult to work on a broad subject than on a specific one, because even if it's hard to find the information, if you look hard enough for something specific you will find it, and you will discover things that you wouldn't have thought of before.
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