A Quote by Stevie Nicks
When you're in a band with three writers, three great writers, you only get one third of the writer thing. So that's the whole reason that I did a solo career. And that's, you know, when I told Fleetwood Mac I was going to do that, they were of course terrified that I would do that record and then that I would quit.
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In company with people of your own trade you ordinarily speak of other writers' books. The better the writers the less they will speak about what they have written themselves. Joyce was a very great writer and he would only explain what he was doing to jerks. Other writers that he respected were supposed to be able to know what he was doing by reading it.
I know of three ways to recognize another writer: Writers are shamelessly nosy. Writers tell good stories, even about dumb old, daily things. On most writers, the earmarks of thrift, if not outright povery, are evident.
Back in 1985, I was working on my third solo album when the band came to me and asked me to produce the next Fleetwood Mac project. At that point, I put aside my solo work - which was half finished - and committed myself for the next seventeen months to producing 'Tango in the Night.'
Defining something being a Fleetwood Mac song is calling it a Fleetwood Mac song, you know? Nothing becomes Fleetwood Mac until that's what you call it.
The weirdest thing to me is that magazines would never do this for their writers. They would never hire a writer who writes for another magazine; they want to have their own stable of writers. Newsweek would never hire a TIME writer, and TIME would never hire a Newsweek writer - but they would both hire the same photographer to shoot a cover for them.
There's still only maybe three female writers or two female writers to 10 guys in any kind of writer's room.
I'd been on everybody else's show and there was always a preinterview. Somebody would come with a tape recorder and you'd talk for three or four hours, and they'd take it back and it would be transcribed, and it would be given to the writers, those many writers you see on all those shows, Larry King, Letterman, Leno, etc. And then they choose the answers that will be most evocative on their show.
When I discovered blues - I was 12-years-old - I didn't discover it in America where it was from; I discovered it from Fleetwood Mac - the original Peter Green Fleetwood Mac, Saveloy Brown - like British blues interpretations of it,' which then, when I started the liner notes and seeing all these names, I was like, 'Who's Willie Dixon?' Then I go to the record store and ask the guy there and he goes, 'Oh, you don't know anything.' And so, to me, that's the root of most of it anyway.
Lots of shows are written completely in the writer's room. And I wouldn't say 'The Walking Dead' is that way. There are three levels to it. There's us in the room. The writers going off by themselves. And me working with the writers on a finished script.
I guess you can look at Fleetwood Mac as the 'Pirates Of The Caribbean' movies and my solo career as indie films.
I dont separate my work with the band from this solo project-Im sure the group could have recorded any of these, and they would have if the Fleetwood Mac project had come up at this time. I dont have any finished songs lying around.
I have three brothers and one sister, and I'm the third child. Sometimes people say, 'It's only natural you would become a writer - your parents were English professors.' But my four siblings were brought up in the exact same household, and no one else became a writer or an English professor.
I was always so jealous of a band like Fleetwood Mac, for instance, where Christine McVie would sing a whole bunch of songs even though Stevie was the obvious lead singer. It added variety to their shows.
I wanted to be a writer from my early teenage years, but I never told anyone. Writers, in my opinion, were god-like creatures, and to say I was striving to be a writer would be incredibly arrogant.
The producer and writers [ of X-Men: Apocalypse ] were kind of feeling me out with, "Are you okay with the fact that you die?" and I was, like, "Yes." That's something that people would talk about, so I thought it was cool that I died. Havok was in three movies and then I get to be remembered.
Lyrically, you know, most of the things on 'Rumours' were very autobiographical and very much conversations the three writers were having with other members of the band.
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