A Quote by Peter Morgan
I'm very happy for others to engage in conjecture, but if I was ever conscious of what I'm thinking about when I'm writing, oh my God, I'd be totally lost.
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The way I write my songs is that I have to believe what I’m writing about, and that’s why they always end up being so personal - because the kind of artists I like, they convince me, they totally win me over straight away in that thing. Like, “Oh my God, this song is totally about me.”
The way I write my songs is that I have to believe what I'm writing about, and that's why they always end up being so personal - because the kind of artists I like, they convince me, they totally win me over straight away in that thing. Like, 'Oh my God, this song is totally about me.'
The problem is that if you're self-conscious about being a person on whom nothing is lost, isn't something lost - some kind of presence? You're distracted by trying to be totally, perfectly impressionable.
The essays are very solipsistic and self-absorbed, I'm totally conscious of that. To me, book writing is fun, and I basically just write about things that are entertaining to myself.
You said you'd kiss me if I lost Tank." - - "You want me to kiss you?" Oh boy. "You were happy I'd lost your puppy?" He was looking like he was still thinking about smiling as he glanced down at Tank, tucked under his arm. "No. That would make me an asshole." Right.
Conjecture as to things useful, is good; but conjecture as to what it would be useless to know, is very idle.
When I write about my childhood I think, oh my God, how did I ever get from there to here? Not that any great thing has happened to me. But I felt so tiny, so lost.
For better or worse we live in a very exposing [time] where, if you choose to, everyone can see everyone's business. You see what they're having for breakfast, where they are, what they're doing. Whereas I think that classic idea of mystery is very seductive. Not knowing every single thing about a person, what they're thinking, that's very powerful. And it would be a shame if we lost that totally.
I remember what it was like to be doing 'Lost' and how creatively immersive it was. I just couldn't really engage on anything else, other than 'Lost;' I was just thinking about it all the time, and then there was just the pure workload, the 70- or 80-hour weeks.
I think my voice worked out fine, but it was a lot of work for me. And I was very self-conscious about it. I was a bit self-conscious about writing lyrics too.
As for thinking time versus writing time, well, that's up to you. But - and I wish it were otherwise - books don't get written by thinking about them, they get written by writing them. And that's when you make discoveries about what you're writing. That's when you get the happy accidents.
The conscious act of thinking about one's thoughts in a different way changes the very brain circuits that do that thinking.
In general I was a good kid. It usually took a lot to make me mad. But once I reached the boiling point, I lost all rational control. Totally without thinking, when my anger was aroused, I grabbed the nearest brick, rock, or stick to bash someone. It was as if I had no conscious will in the matter.
"Nothing is ever lost" means that what we are now goes all the way back through natural history. We are biological organisms and not simply computerized brains. By focusing totally on the present, thinking only about science and computers, and forgetting four billion years of life on this planet, we are losing perspective on who and what we are.
It can get discouraging - 'Oh, it didn't work,' or, 'Oh, I lost the baby,' or, 'I can't do this again.' You can. And when you get the kid, you'll be happy that you did. But it's a very painful process for a lot of people. You just have to figure out how it's gonna get done.
Writing a book about yourself is like therapy, and you go 'Oh My God, that's the reason that happened.' Writing about it, you're forced to really examine things.
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