A Quote by Marianne Faithfull
I've simplified much more in my writing. I say what I've got to say, not in metaphor.
Related Quotes
If you can run around the corner and say hello to someone do that instead of emailing. It's always more rewarding; the connection is always more authentic. If you've got something to say and you can say it someone's face, it's so much better, healthier.
Essentially, the scripts are not that different. Let's say, in literary terms, it's the difference between writing horizontally and writing vertically. In live television, you wrote much more vertically. You had to probe people because you didn't have money or sets or any of the physical dimensions that film will allow you. So you generally probed people a little bit more. Film writing is much more horizontal. You can insert anything you want: meadows, battlefields, the Taj Mahal, a cast of thousands. But essentially, writing a story is writing a story.
I don't like writing - it's so difficult to say what you mean. It's much easier to edit other people's writing and help them say what they mean.
I don't like to be noticed. The older I've got, the more reclusive I've become. I've got late-onset shyness. People are lovely. When they see me in the street, they don't ask for anything from me. They just say: 'I thought it was you, and I just wanted to say how much I enjoy your books,' but I can't seem to cope with it anymore.
Thoughts are created in the act of writing. [It is a myth that] you must have something to say in order to write. Reality: You often need to write in order to have anything to say. Thought comes with writing, and writing may never come if it is postponed until we are satisfied that we have something to say...The assertion of write first, see what you had to say later applies to all manifestations of written language, to letters...as well as to diaries and journals
When I'm recording, which is synonymous with writing, I'll play things over and over again until it sounds like I've got the right guitar part. Whereas I think, as the much younger player I tended to do things much more consciously. I didn't wait for the moment where inspiration might strike. That's what I do now. I wait for it to naturally start to replay itself in my mind. As I say, I don't force it. So I like to think of myself as a receiver. I'm a telephone line to who knows where, but until I hear it through that receiver, I don't usually do it. It's got to start writing itself somehow.
I'm quite sure Shakespeare enjoyed writing Iago much more than he did writing Othello. If you write about someone you love, what the hell are you supposed to say about that person? It's much better to have something between you and your main character that grates.
Some directors don't say much. Michael Mann, for example. I remember on 'The Insider' he never had much to say. He would do a scene, just kind of nod, and then set it up to do it again. And you might do a scene 10 or 12 times or more, the same little 31-second bit. And you could tell he wasn't satisfied, but he wouldn't say much.
It's very hard, I think, for critics to write positive reviews, because there's not that much to say about something you like. You can kind of say 'I really like that band' and then if you're forced to fill up the rest of an article, you've got to start saying heady things. It's much easier to say negative things in a review.
Let's say the docs present a simplified view of reality.
I have found, writing a blog, that being non-opaque is necessary. You pretty much have to say what you know in much more firm terms or risk that the legions who always know more than you do will tell the story better.
Be still when you have nothing to say; when genuine passion moves you, say what you've got to say, and say it hot.
In the early days, Porter Wagoner would not exactly scold me, but he's say, 'You're writing too many damn verses. You're makin' these songs too damn long.' And I'd say, 'Yeah, but I'm tellin' a story. I have a story to tell.' And he'd say, 'Well, you're not going to get it on the radio.' If I start writing a song, I'm writing it for a reason. People would say that I had to have two verses, and a chorus, and a bridge. I tried to learn that formula.
Aig [F.-M. Sir Douglas Haig] 'e don't say much; 'e don't, so to say, say nothin'; but what 'e don't say don't mean nothin', not 'arf. But when 'e do say something--my Gawd!
I don't think we need a critic to negotiate with the audience. People say, "Who are you writing for?" I'm writing for myself but my audience is anybody who knows how to read. I think a story should engage anybody who knows how to read. And I hope that my stories do, maybe on a different level for more sophisticated readers than, say, a high school kid, but still a story has got to grab you. That's why we read it.
It's a metaphor for what we're being told: "Just stay in the box, kid, don't muddy the water." Parents say it to their kids. Teachers say it. Schools do. And so people become immune to the sameness.
Related Authors
Ani DiFranco Quotes
American
Musician
Bob Dylan Quotes
American
Musician
Brian Eno Quotes
British
Musician
Bruce Springsteen Quotes
American
Musician
David Bowie Quotes
English
Musician
Drake Quotes
Canadian
Musician
Elton John Quotes
English
Musician
George Harrison Quotes
British
Musician
Henry Rollins Quotes
American
Musician
John Lennon Quotes
English
Musician
Madonna Ciccone Quotes
American
Musician
Moby Quotes
American
Musician
Nicki Minaj Quotes
American
Musician
Patti Smith Quotes
American
Musician
Thom Yorke Quotes
English
Musician
Tori Amos Quotes
American
Musician