Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
Also, I feel that crying is almost--like, aside from deaths of relatives or whatever-- totally avoidable if you follow two very simple rules: 1.Don't care too much. 2. Shut up. Everything unfortunate that has ever happened to me has stemmed from failure to follow one of the rules.
When one tugs at a single thing in nature; he finds it attached to the rest of the world.
Variant - When we try to pick out anything by itself, we find it hitched to everything else in the Universe.
Variant - Tug on anything at all and you'll find it connected to everything else in the universe.
Did you ever find that there is room between the two opposing rules of a paradox? That space between two almost opposite rules is the ground where I play and write.
I write in spurts. I write when I have to because the pressure builds up and I feel enough confidence that something has matured in my head and I can write it down. But once something is really under way, I don't want to do anything else. I don't go out, much of the time I forget to eat, I sleep very little. It's a very undisciplined way of working and makes me not very prolific. But I'm too interested in many other things.
I just write what I think is funny, or interesting, and hopefully everything else will take care of itself. There's no strategy to anything.
There are simple rules of engagement: You need to have your voice, but it has to be very intentional - be brief and to the point, with fresh ideas. Don't restate things someone else has said. Make eye contact with the person who has the floor.
My own view is simply that there are some very basic rules; very simple rules that apply to all writing in a way, which is: don't lie; if you're wrong, correct; do not misrepresent; and try and keep oneself intellectually honest - which means, as a writer, the very difficult task in public of admitting you were wrong.
I don't have personal experience and knowledge about anything but theater. I've been tutored very well on the subject, but ultimately I'm going back to the rules of drama. There are genres that I like as an audience member that I can't write as a writer. I can't write crime, and I like a good thriller as much as anybody.
You can't write anything you want. Once you write that first chapter, then everything else is determined. You can write anything you want, but only one thing works.
If you write, write about what you do and who you are, and you can't be wrong. Don't lie about anything. You are very similar to everybody else in the world. You love, you hate, you have friends, you have enemies. Be who you are.
All you have to do is follow three simple rules. One, never underestimate your opponent. Expect the unexpected. Two, take it outside. Never start anything inside the bar unless it's absolutely necessary. And three, be nice.
The new environment dictates two rules: first, everything happens faster; second, anything that can be done will be done, if not by you, then by someone else, somewhere.
If you really want to write, then shut yourself in a room, close the door, and WRITE. If you don't want to write, do something else. It's as simple as that.
Activity and rest are two vital aspects of life. To find a balance in them is a skill in itself. Wisdom is knowing when to have rest, when to have activity, and how much of each to have. Finding them in each other - activity in rest and rest in activity - is the ultimate freedom.
I began drawing probably when I was - around the same time everybody else puts a mark on a piece of paper with a crayon - when I was two, probably. The difference between me and everybody else is, I kept doing it for the rest of my life; there was something very satisfying about that.