A Quote by Rachel Sklar
I don't mind other guys seeing movies I want to see and then writing about them. That's fine, especially when it's the New Yorker's Anthony Lane, because he knows this stuff pretty well.
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Anthony sneezed and pushed them aside. "Mother, I am trying to have a conversation with the duke." Violet looked at Simon. "Do you want to have this conversation with my son?" "Not particularly." "Fine, then. Anthony, be quiet.
If you're born and raised a New Yorker, you're probably pretty to-the-point, and you don't care so much about hurting people's feelings as you do about saying what's on your mind, because you assume they'll get over it.
I see potential in everything. It's about opening your mind to what you can do to the garment: because they're cheap, you can cut them or stitch them, and if you stuff it up, it's fine - it's only two dollars.
I think that anyone who likes writing views 'The New Yorker' as the, you know, pinnacle of the publishing world. If you get 50 words published in 'The New Yorker,' it's more important than 50 articles in other places. So, would I love to one day write for them? I guess. But that's not my sole ambition.
I've been writing for a long time, since the late '60s. But it hasn't been in the same form. I used to write scripts for television. I wrote for my comedy act. Then I wrote screenplays, and then I started writing New Yorker essays, and then I started writing plays. I didn't start writing prose, really, until the New Yorker essays, but they were comic. I didn't start writing prose, really, until the '90s. In my head, there was a link between everything. One thing led to another.
I let people fill in the blanks on their own. If they want to think about their ex, that's fine. If they want to think about maybe who one of my exes is, then that's fine. And it might not be right, because I'm the only one who knows what these songs are really about. It's the one shred of privacy I have in the matter.
I think I became a better writer after I started writing for the New Yorker. Well, I know I did. And part of it was having my New Yorker editor and part of it is that was when I started really going on tour and reading things in front of an audience 30 times and then going back in the room and rewriting it and reading it and rewriting it. So you really get the rhythm of the sentences down and you really get the flow down and you get rid of stuff that's not important.
You're not going to look at Paul and see him slacking, not carrying his weight. All the other stuff, 'Paul doesn't lead' and all that? That's fine. Go grab guys that lead, then. Let me help them lead.
Why on earth is the 'New Yorker' publishing puff pieces about pretty girls who go to parties? Does the 'New Yorker' ever run photos of cute boys just because they're cute and they come from money and they go to lots of parties?
The debate about the war seems pretty robust and free. Many publications, from the New Yorker to the Nation, feel perfectly comfortable printing anti-American articles and that's fine. That's what the First Amendment is all about.
I'm a New Yorker, I say what's on my mind, because not being that way, what's the point of that? People may think this is hype, but you look back before at my other fights and you see that I don't talk trash.
There are a lot of kids out there copying and distributing movies - not because they care about seeing the movies or sharing them with their friends, but because they want to stick it to the movie business.
I think there's a very fine line on guys saying stuff because you don't want to be disrespectful. That's not the point of it. But you also do need to - there's nothing wrong with saying what's on your mind.
Anthony: Now lower your dress a little- Roslynn: Anthony! Anthony: This is no time for offended modesty... You're the distraction. Roslynn: Och, well, in that case. Anthony: That's quite low enough, my dear... Roslynn: I was only trying to help, Anthony: Commendable, but we want the chap to ogle you, not bust his breeches.
Another example of what I have to put up with from him. But there was a time I was mad at all my straight friends when AIDS was at its worst. I particularly hated the New Yorker, where Calvin [Trillin] has published so much of his work. The New Yorker was the worst because they barely ever wrote about AIDS. I used to take out on Calvin my real hatred for the New Yorker.
One question about a joke is, how well is the strangeness of the situation resolved? At 'The New Yorker', we retain a lot of incongruity, tapping the playful part of the mind - Monty Python-type stuff. We also try to use humor as a vehicle for communicating ideas. Not editorial comment, but observation.
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