A Quote by Neil Gaiman
In a novel, you can always go back and make it look like you knew what you were doing all along before the thing goes out and gets published.
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I call it "being interrupted by success." We had done The Soft Bulletin, which came out in 1999, and we knew we that were gonna make another record before too long. But in between this, we were still in this mode of kind of just - not re-creating what we could be, but kind of doing different things. For the longest time in the Flaming Lips we were like, "Make a record, go on tour. Come back, make another record," and you know, I think, frankly, we were kind of like, "There's more to life than just recording records and going on tour."
Back when you were doing plays like 'The Miracle Worker,' you had 20, 25 people in the cast. When you go to make the film, that's not such a stretch. But when you're doing plays like 'Proof,' it's just five people or something in the thing, and it gets to be a really difficult re-conception.
Generally, I like people's trunk projects, the things they were working on before anyone knew who they were. I think when people run out of their trunk items and they start doing stuff just to do a film next year, the quality goes down, the interest goes down. Maybe it feels commercial or something.
A novel means a new way of doing a story. If you go back the origins of a novel, 'Clarissa' - that's not a novel; it's just a bunch of letters. But it isn't! Because it's organised in a particular way! A novel is what you make of it.
No writer, I believe, should attempt a novel before he is thirty, and not then unless he has been hopelessly and helplessly involved in life. For the writer who goes out to find material for a novel, as a fishermen goes out to sea to fish, will certainly not write a good novel. Life has to be lived thoughtlessly, unconsciously, at full tilt and for no purpose except its own sake before it becomes, eventually, good material for a novel.
When we were in the design studio I always was pretending like I was in a closet asking my friend before I step out into the world what do I look like? And everybody wants that honest friend before they go and go to dinner or go to an event.
In my vast experience, I've found it always wiser to go along with female advice... First, you make them happy by doing what they tell you. That's the main thing. Let them think they're in control. They love it. Then, if it turns out they were right, everything's cool. If it turns out they were wrong... then you have the pleasure of basking in the glow of superiority.
It's funny: when you make a film, you always look back, and there are always crucial decisions that get made. You look back, and at the time they don't seem like it, but you look back, and you see they were absolutely fundamental.
One last thing on objectives - I like to make things, create things, so that's probably been the primary objective all along, even before the ego objective - to make. To record. But why record... that gets back to the ego, a little. Oh, well. Making is good. I like to make things.
Yes, I know, shaming, isn't it? I always say you can take the girl out of the 80s, but you can't take the 80s out of the girl. Before I wrote my first novel, I was reading one of the self-help classics – and it's as cheesy as you like, so feel free to laugh, Guardian readers – called Awaken The Giant Within, by Tony Robbins, and it inspired me to try. I like motivational books, because I like the go-getting American spirit – your destiny is in your own hands, life is what you make it, don't accept your limitations, jump before you're pushed, leap before you look.
A fellow must know where he wants to go, if he is going to get anywhere. It is so easy just to drift along. Some people go through school as if they thought they were doing their families a favor. On a job, they work along in a humdrum way, interested only in their salary check. They don't have a goal. When anyone crosses them up, they take their marbles and walk out. The people who go places and do things make the most of every situation. They are ready for the next thing that comes along on the road to their goal. They know what they want and are willing to go an extra mile.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
I think one of the problems in determining the ending for a television series is that you don't know how long the show is gonna last. Particularly because we were in the unique position of adapting Tom's Perrotta novel The Leftovers, it always felt like the first season was gonna end with the end of Tom's novel, and then we would figure things out from there and look back.
We don't want to lose you Lord Rahl. We don't want to go back to way things were." She sounded on the verge of tears. "We like being able to do simple things, like make a joke, and laugh. We could never do such things before. We always lived in fear that if we said the wrong thing we would be beaten, or worse. Now that we have seen another way, we don't want to go back to that. If you throw your life away for the Midlands, then we will.- Cara
I'm not always the best at picking out what goes together. I always want to be presentable, but more than that, I want to be different. I've never just wanted to follow the crowd. I think that goes back to when I was a boy. If everyone was doing one thing, I'd do something different.
She knew that when she got old it would be more fun to look back on a life of romance and adventure than a life of quiet habits. But looking back was easy. It was the doing that was painful. There were plenty of things she would like to look back on but wasn't willing to risk.
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