A Quote by Peter Frampton
I wrote 'Show Me the Way' in the morning and wrote 'Baby, I Love Your Way' in the afternoon of the same day. I've been trying to figure out what I ate for breakfast that morning ever since!
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I was with Brian De Palma at the time, and he said he wrote the role specifically for me. I don't know what that says about the way he saw me, since the role was of a castrating killer. Brian came one morning to the house, said "Here's your Christmas present." He wrote the character to have a Swedish accent, but since I couldn't pull that off, he switched it to French-Canadian. It was such a romantic time in my life. Everyone was young and passionate and convinced they were going to change film forever.
France was very opposite of the show-business experience I'd been living; I was anonymous and alone. I wore no makeup, wore the same clothes every day. And I wrote and wrote and wrote.
Way, way back in the day, like in the 1990s, if you wanted to tell everyone you ate waffles for breakfast, you couldn’t just go on the Internet and tweet it out. There was only one way to do it. You had to go outside and scream at the top of your lungs, 'I ate waffles for breakfast!' That’s why so many people ended up in institutions. They seemed crazy, but when you think about it, they were just ahead of their time.
I begin early in the morning and edit everything I wrote the previous day. I write until mid-afternoon. My goal is to write a chapter per week, and if I am not finished by Friday, I write on the weekend. I get a lot of fan emails and answer them every day. In the late afternoon, I attend to the business of publishing, etc.
I either wrote at the end of the night or sometimes in the morning. Sometimes they were full entries, or others I just wrote notes about things that happened that day or funny thoughts I'd had. If I had a truly eventful day, I'd take the time to write it all down in great detail. I edited a lot of content out once it was all finished - there was way too much, and I didn't want to bore anyone. I like to keep the book [Superficial: More Adventures from the Andy Cohen Diaries] moving at a fast pace.
All things here appear to me to trudge on in one and the same round: we rise in the morning that we may eat breakfast, dinner andsupper and to bed again that we may get up the next morning and do the same: so that you never saw two peas more alike than our yesterday and to-day.
I always wrote. I wrote from when I was 12. That was therapeutic for me in those days. I wrote things to get them out of feeling them, and onto paper. So writing in a way saved me, kept me company. I did the traditional thing with falling in love with words, reading books and underlining lines I liked and words I didn't know.
I could send myself right back to the day that I wrote "Angel Of The Morning," how it felt. I had a buzz through me that morning that was so powerful. I knew I had done something that meant something, because of that feeling. It wasn't a question of whether other people liked it ... I loved it. To me, it had to be one of the most important love stories of all time.
I remembered what it was like: the weirdness, being the odd man out, trying to make my way around campus, and trying to figure out who my friends would be, who to steer clear of. I wrote it all down in a fanciful way - the feelings of alienation, the feelings of uncertainty, of being away from home for the first time.
One of these poems I wrote after having been here only a month. The other, I wrote this morning. In the space between the two poems, I have found acres of grace
Everything on Saturday morning [cartoons] moves alike that's one of the reasons it's not animation. The drawings are different, but everybody acts the same way, their feet move the same way, and everybody runs the same way. It doesn't matter whether it's an alligator or a man or a baby or anything, they all move the same.
Someone wrote to me asking me to illustrate a missed connection that "hasn't happened yet." This guy has seen the same girl waiting at a bus stop on his morning commute for weeks, and has been trying to find a way to approach her. He thought it would be fun to put up a Missed Connections poster [of my painting] on the corner where she waits and see what happens. It is kind of an intriguing idea but there's something a bit too manipulative about it for my liking. It's a fine line between being creative and stalking!
I haven't any formal schedule, but I love to write in the morning, before breakfast. Sometimes the writing goes so smoothly that I don't take a break for many hours - and consequently have breakfast at two or three in the afternoon on good days.
I like the way the morning can be stormy and the afternoon clear and sparkly as a jewel in the water. Put your hand in the water to reach for a sea urchin or a sea shell, and the thing desired never quite lies where you had lined it up to be. The same is true of love. In prospect or contemplation, love is where it seems to be. Reach in to lift it out and your hand misses
I don't even think any stimulants really help writing. You talk to most guys and they say, "Hey. I wrote this." And they're out of their head or they had a few beers or a bottle of whiskey. You wake up the next morning, it's usually pretty crap. But you know Dylan Thomas wrote some great poetry. Brendan Behan. You never know but ultimately I'd say you have to get up early in the morning and you're usually sober when you write your good stuff; it's hard work. So alcohol, keep it for chilling out, fun, and having a good time. Not for work.
When John, my husband, was alive, he had a strict timetable. We would get up at 7:30 every morning and go out to breakfast, and I'd have a little nap in the afternoon if I had a show to do at night.
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