A Quote by Paul Weller

When I lived in a little flat in Pimlico in 1981, I'd write in the hallway. As you walked in, there was a tiny little recess type thing, hardly a hallway, really, and I'd sit there writing songs with my guitar.
I can draw pencil lines to show something is moving, but if I'm writing, I struggle with how to write it. The boy ran down the hallway? The boy ran quickly down the hallway? The boy ran down the marble hallway? I agonize over the words. So my editor works very hard. I'm lucky to have her.
If it looks like a hallway, feels like a hallway, and acts like a hallway—is it important to figure out that it isn’t a hallway?
In the early days, I had very little idea about arrangements, and I wrote songs a little flat, as it were, just on an acoustic guitar. They didn't really have quite enough nuance.
I grew up with my little brother, and we were raised by my grandmother. I was an insider for real. I stayed in the house a lot, writing songs or playing video games, watching TV, or chilling with my girlfriend. It wasn't until 9th grade that I got into music. This guy in school heard me singing around the hallway to girls and stuff.
I remember when I was 5 living on Pulaski Street in Brooklyn, the hallway of our building had a brass banister and a great sound, a great echo system. I used to sing in the hallway.
When you create those characters that people love and care about and put them in a dark hallway, already the audience is on edge, and they feel empathy for that character. Then it's up to me to decide what jumps out in that hallway. So I think laying that foundation of strong characters and strong story is the most important thing in a horror film.
I write in the studio, I don't sit around with a piano or a guitar and write songs. I get satisfaction out of that because I can finish the song really quickly. I can use whatever momentum I have. I've got to put it down, develop it, and get it as far [as I can], because the excitement of the moment of when you get that idea - you want to try and hold it and build on it and really gain strength from it. Being in the studio and writing songs like that is really the best way.
I actually write a lot, but mostly just daily gibberish. I am a documentation addict: "I just peed. I walked down the hallway. I dropped my pencil. I just aged a minute."
I was never the girl who walked down the centre of the hallway snapping people out of her way.
Nothing beat that welcoming smell of fried food wafting into the hallway from the kitchen as I walked in from school as a kid.
I needed a writing space to get out of my house with the little guy. Because any time I try to write or sit down and do things, he wants to be there with me and play the guitar.
Compassion is the belief that things might improve, and even when there's little, if anything, to sustain and engender that belief. It's the place from which I write, and the more troubled the circumstances, the deeper into the hearts and psyches of these characters I'm likely to go, opening every door in that dark hallway, and walking all the way in.
I write, and I sing, and I play a little guitar. I mean, it's tiny. Ba-dump-bum!
My earliest attempts at writing were when I was seven. I would sit at the piano and transcribe the songs I heard on the radio. I'd change little things in the music and write different lyrics.
Once upon a time, there was a little creature that was rather small and rather wicked and it lived all alone in the woods. The little creature lived in a little den, at the bottom of a little ravine, filled with not-at-all little brambles and on the edge of a forest that could only be described as really freakin' huge.
What you can't teach someone is how to find the door. You can't give someone a door to another universe. You can tell them that the door exists, and if they're stuck in the hallway you can be like, "You're stuck in the hallway," but you can't open the door for them.
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