A Quote by Liza Dalby
It seemed to me that people do a rather good job of creating levels of hell all by themselves, and this was something worth writing about.
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Everybody's complaining about all of Trump's cabinet members, how rich they are, that's horrible. I'd rather have that than a bunch of people in Obama's cabinet that have never spent a minute making a payroll, creating a job, or a service, or inventing a product. What the hell is there about academics from the faculty lounge who don't know what they're talking about other than theoretically. Why not have a bunch of people who have succeeded wildly, sharing what they know, implementing what they know nationwide? I would much rather have that.
It's not my job to worry about how Left, Right will react to something. My job is, am I creating something that connects people? That's my job.
I guess I have an aversion to writing about big events and heroic actions. The everyday has always seemed most important to me in writing, probably because I believe people reveal themselves in how they deal with small details.
All men who have ideals . . . live by some kind of faith, by committing themselves to some kind of loyalty which is not universally recognized as the common property of all thinking men. They must have something-something outside themselves, to make them feel life is worth living, that good rather than evil is the explanation of the world.
You want to have the experience. As far as the creative side, the more I do this, the more I know that it's all about the writing. You got on a film sometimes and it's sort of half-written, and they expect and think that the actor's job is to bring the extra part and the good part. It's not. We're good at saying what other people have written, but for the majority of it, that's about it, comedians aside. It's all in the writing. Whether that's dialogue or character, or whatever, it doesn't matter. As long as they've done something special, than you can do something special.
the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat
In the strengthening the core job, a leader can draw on their past experiences. After all, in most cases they did the job of the people that are reporting to them! So they know when something is screwed up, they know the risks worth taking, and they know the corners to cut. But when they are creating the new, no one knows what the right answer is.
The fun part about doing our movies is that you're creating something using the talents of people rather than finding these pathetic people who are thrust into these situations. That, to me, is completely artless.
I don't see writing as a communication of something already discovered, as "truths" already known. Rather, I see writing as a job of experiment. It's like any discovery job; you don't know what's going to happen until you try it.
Still, I kept writing. I had no guarantee that I would someday win awards for writing. Heavens, the only person during that time who seemed to think I could write something worth publishing was my loyal husband. But I always remembered the professor from graduate school who urged me to write and who recommended me for that first writing assignment in 1964. When I protested to Sara Little that I didn't want to add another mediocre writer to the world, she gently reminded me that if I didn't dare mediocrity, I would never write anything at all.
The best parts about writing a show are [its] first, second and 10th anniversaries. Everything else is relative levels of hell.
For me, writing music is a way of processing the world. It's not a concrete thing, as in, "This piece is about giraffes." It's much more of an emotional sort of thing. I want people to find something out about themselves through my music, something that was inaccessible before, something that they were suppressing, something that they couldn't really confront.
Our society is constantly creating this framework for girls to feel that their only worth is their appearance, and it's damaging on so many levels to so many people.
Creating emotion was what my career was all about. I wanted people to laugh at me; I wanted people to cry with me. I wanted people to feel good or to think about something when they watched me. I think that's why, even not being an Olympic champion, I have such a huge following around the world.
Rather than giving people an inflated view of themselves, we need to give them concrete reasons to feel good about themselves.
The problem is no longer getting people to express themselves, but providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people from expressing themselves, but rather, force them to express themselves. What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, or ever rarer, the thing that might be worth saying.
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