A Quote by Seneca the Younger
It is one thing to remember, another to know. To remember is to safeguard something entrusted to the memory. But to know is to make each thing one's own, not depend on the text and always to look back to the teacher. "Zeno said this, Cleanthes said this." Let there be space between you and the book.
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I think I sent one [book] to Brian Eno. I don't know how I got to know his address, but I sent one to him. He called me up and he said, "I really like the book, and I'm starting a new label, would you liked to do something?" It was a tricky situation for me, because I've always had this thing in my life of a tension between collaboration, which was extremely important to me, and then being alone. Make of that what you will!
It's funny what [producer Richard Zanuck said about even though you can't quite place when the book or the story came into your life, and I do vaguely remember roughly five years old reading versions of Alice in Wonderland, but the thing is the characters. You always know the characters. Everyone knows the characters and they're very well-defined characters, which I always thought was fascinating. Most people who haven't read the book definitely know the characters and reference them.
Dating is so insecure. My last relationship, I was always there for her and she dumped me. I told her about it. I said, "Remember when your grandma died? I was there. Remember when you flunked out of school? I was there. Remember when you lost your job? I was there!" She said, "I know
I remember when people said, "Man, that's a powerful scene in the movie!" and I was like, "We just shot this thing before lunch, I don't know, he tears a log apart, I said some words".
Then how about one kiss?” he said with a sexy grin. “Something to remember me by?” ...“I’ll give you something to remember me by,” I said. “The back of my head.” I pushed past him and escaped through the door to freedom.
It is immature and lazy to imagine we know everything there is to know about someone before we know that someone. We don't know their stories, their histories, their real live human feelings. We don't know their favorite movies and best memories and what makes them afraid. It is unfair to take one fact, one thing they've said or we heard they said, or one thing they wrote, or someone else's experience, or a group they identify with and make a character sketch. If people did that to us, the picture would be so woefully incomplete, we wouldn't even recognize our own description.
As I've said many times, it's one thing to dream about something; it's another thing to experience it. It's one thing to think you're good enough; it's another thing to know you're good enough.
I'm not a big note-taker, so I think that the way I decide is that whatever I remember I always consider something that's important. If I remember a joke then I know it's a good joke, if I remember a story then I know it's a good story, and so that's how I curate what stories I'm going to write for the book. And I go over them again, make sure there's a theme and all that stuff, but mostly, it is intuition.
Own only what you can always carry with you: know languages, know countries, know people. Let your memory be your travel bag. Use your memory! Use your memory! It is those bitter seeds alone which might sprout and grow someday. Look around you - there are people around you. Maybe you will remember one of them all your life and later eat your heart out because you didn't make use of the opportunity to ask him questions. And the less you talk, the more you'll hear.
If you remember only one thing I've said, remember that an idea is a feat of association, and the height of it is a good metaphor. If you have never made a good metaphor, then you don't know what it's all about.
The first time I did a reading/signing thing at Cody's, the woman who did the introduction said something like that, and I wasn't the only one cringing. I remember looking out into the audience and seeing people's faces and people whispering to each other, and thinking like "Ugh, can we just cancel the whole thing? I can't go out there after she said that."
Always, my mother said, "Be yourself." That is sometimes the hardest thing to do. I try to always remember that and come back to that and have strength in who you are. There is only one you.
I remember when I got the part in Gentlemen Prefer Blondes. Jane Russell - she was the brunette in it and I was the blonde. She got $200,000 for it, and I got my $500 a week, but that to me was, you know, considerable. She, by the way, was quite wonderful to me. The only thing was I couldn't get a dressing room. Finally, I really got to this kind of level and I said, "Look, after all, I am the blonde, and it is Gentlemen Prefer Blondes!" Because still they always kept saying, "Remember, you're not a star." I said, "Well, whatever I am, I am the blonde!
I remember going to a theater once, and there was a stairway that wound its way out to the back. And I was very young, a small child, and I said to my mom, 'Why are those people going up those stairs?' And she said, 'You know, I don't know how to tell you this, I don't know how to explain it, but it won't always be that way, because it's wrong.'
It's an ethical pact I've made with myself and with the reader - not to invent. And when I can't remember, I say I can't remember. I'm just appalled by the memoirs published by people who regurgitate dialogue, conversations from when they were small children, and they go on for three or four pages. I can't even remember what we said to each other ten minutes ago! How can I remember what was said sixty years ago? It's not possible.
Colin [Farrell] I talked to several times on the phone, and I said, remember, we have only twenty-five days of doing the movie [Miss Julie], so you must know some of your text. I was a little un-feminist, I didn't want to say [bossy voice] "learn your text!" But when he came, he knew all his text.
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