A Quote by Kenneth Lonergan
I wrote a play once called 'Lobby Hero,' which I thought turned out very well, but there's no final version of it. I published the one we produced, but there are seven other versions with different variations sitting in my desk at home.
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The trick to my writing, it turned out, was doing so exclusively in bed. The minute I even dared to discipline myself and write at the desk, I produced mounds of nonsense. Yet, sitting in bed, I wrote easily, effortlessly, fluidly. I became the master of perfect indiscipline.
In my final year at Bristol University, I wrote a play called 'White Feathers.' It was produced in the studio theatre at the students' union in early 1999, when I was 21. It's 100 pages long: a very traditional play, with an interval, about deserters in the First World War.
I think we all carry within us different versions of ourselves. Our true, greatest, most honest versions of ourselves can either be developed and nourished, or it can remain dead from neglect. Most people opt for the easiest version rather than the best.
But in the end which version lives, which version thrives and which version dies, depends on the choices we make and the people in our lives.
An English journalist called Michael Viney told me when I was 25, that I would write well if I cared a lot what I was writing about. That worked. I went home that day and wrote about parents not understanding their children as well as we teachers did, and it was published the very next week.
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 was desperately unhappy with it [Blade Runner]. I was compelled by contract to record five or six different versions of the narration, each of which was found wanting on a storytelling basis. The final version was something that I was completely unhappy with. The movie obviously has a very strong following, but it could have been more than a cult picture.
On 'Metallica,' I recorded six or seven different guitar solos for almost every song, took the best aspects of each solo, mapped out a master solo and made a composite. Then I learned how to play the composite solo, tightened it up and replayed it for the final version.
What Guitar Hero has done is to turn music inside out. Whereas the iPod made music very personal, very singular - you put your ear-buds in and you listen to it - Guitar Hero turned it around and made it very social. So it is fun to play. It's fun to play against people.
I wrote The Philosophy of Disenchantment, which is, I think, the gloomiest and worst book ever published. Out of sheer laziness, I then produced a history of atheism, The Anatomy of Negation, which has been honored by international dislike. Need I state that of all my children it is the one that I prefer?
It had been fourteen years and I hadn't had anything published. I had 250 rejection slips. I got my first novel published and it was called Kinflicks. It turned out to be a best seller.
I spend so much time with the brightest and most talented and well-rounded people. I've had the privilege of having long and very intellectual conversations with people, and sometimes I just sit there and listen. It's like a better version of a class. Even though I'm not sitting at a desk and in school, I'm still learning all the time.
The craziest thing about TV directing is I turned in a version, and then they made their final changes - so I don't know what they are. So I'm like, "Ooo, I'm dying to see the final print."
I spend so much time with the brightest and most talented and well-rounded people. I've had the privilege of having long and very intellectual conversations with people and sometimes I just sit there and listen. It's like a better version of a class. So I'm - even though I'm not per se sitting at a desk and in school, I'm still learning all the time.
I often can't remember which scenes are and aren't in the final product, because I saw so many different versions of the Lemony Snicket that I forget which ended up on the cutting-room floor.
I now have a home recording studio, which I can operate entirely on my own, as well as a portable version of the same which allows me to record anywhere I like and simply swap out the hard drives for use in the home studio.
There was a day where I was sitting at my desk, working 90-hour work weeks, in a suit, looking at a computer, with all these pitch books on my desk, and I just thought, "This can't be my life..."
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