A Quote by Tom Drury
If you become a creative writer with the idea that you are going to make a whole lot of money, then maybe this isn't the best choice for you.
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Our whole attitude about life is money-oriented. And money is one of the most uncreative things one can become interested in. Our whole approach is power-oriented and power is destructive, not creative. A man who is after money will become destructive, because money has to be robbed, exploited; it has to be taken away from many people, only then can you have it. Power simply means you have to make many people impotent, you have to destroy them - only then will you be powerful, can you be powerful.
One of my central philosophies is to be creatively driven so I have to be extraordinarily creative in the way I get things done and I have to be really flexible. Striving for the best creativity can be a really moving target if you're trying to budget anything because if you come up with a better idea for something and it's going to make the movie stronger then you have to do it. And that's what I do. The difficulty is that you have to use more judgement as a producer then you might in other places. I have to make unbelievably great creative decisions.
When you get an idea and you fall in love with it there's not a whole lot of choice. You're going down a street and you meet this girl and you know it doesn't have to make any sense. Bingo! You're in love.
If you love money and you want to be creative, you cannot become creative. The very ambition for money is going to destroy your creativity. If you want fame, then forget about creativity. Fame comes easier if you are destructive.
You can't survive if you don't make money. But as far as I'm concerned, we never, ever make a product with the idea that we'd make a lot of money. We make products because we're inspired by the idea that people will love it.
For me, collaborating is a marriage of the minds. It's two or more people coming together and making an idea come alive. Using their own creative knowledge or creative spirit to make the best version of an idea. To inspire an idea and to challenge it to be better than just one person's vision for it.
No matter what choice you make, it doesn't define you. Not forever. People can make bad choices and change their minds and hearts and do good things later; just as people can make good choices and then turn around and walk a bad path. No choice we make lasts our whole life. If there's ever a choice you've made that you no longer agree with, you can make another choice.
Don't get the idea that I've turned green. My business is making money, and I think this is going to make a lot of money.
I am going to become a writer for Cosmo - you don’t have to make any sense at all. Or maybe I’ll be a bloke, they don’t have to make sense either.
Just write. If you have to make a choice, if you say, 'Oh well, I'm going to put the writing away until my children are grown,' then you don't really want to be a writer. If you want to be a writer, you do your writing... If you don't do it, you probably don't want to be a writer, you just want to have written and be famous—which is very different.
Purely the idea of writing a lot of books doesn't make you a great writer, but it might be that the process of doing a lot of writing will make you a much better writer.
It's become fashionable these days to say that the writer writes because he is not whole, he has a wound, he writes to heal it, but who cares if the writer is not whole; of course the writer is not whole, or even particularly well.
I was really rudderless at one point my life. And once I started reading books, then I got the idea that maybe I could become a writer. I had a goal. And every day when I got up, there was a reason.
The whole dissident idea attracts a lot of crazies. And then all of a sudden, without realizing it, you've become one of them.
Your whole childhood is just absent of choices. And then you become an adult, and every choice you make, you open some doors and close others.
There is a sort of creative purity in an independent film, in the passion of the director, the passion of the crew. They're not getting a whole lot of money, so you know they are not there because they want to get rich. Instead, they are there because they want to make a movie. In the bigger films, I remember when I used to do those, it's just a job for a lot of people, so there is less of an intense energy devoted to the whole project.
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