A Quote by Tracey Emin
The idea that I'm going to have to sit down to write some fiction where I'm going to have to think of a plot would really scare me, because it would come out a mess.
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I have always been intensely uncomfortable with the idea of a science fiction writer as prophet. Not that there haven't been science fiction writers who think of themselves as having some sort of prophetic role, but when I think of that, I always think of H.G. Wells - he would think of what was going to happen, and he would imagine how it would happen, and then he would create a fiction to illustrate the idea that he'd had. And no part of my process has ever resembled that at all.
If I sit down to write a young-adult novel, then I'm going to write either to the punch-pulling expectation of what I can't do, or I'm going to go the other way and think about what can I sneak in to be 'down with the kids' - which would be excruciating.
A knowledge of craft is not the enemy of creativity. You sit down to write and realize, today's going to be a really unconscious day and I'm going to let it all out. Or, today's going to be analytical. And some days all mixed up.
I may have a general broad-based idea of what I want to write about when I sit down to write a book, but I don't have any idea of what it's going to say. I would call my experience of creativity 'inspired by God' to produce certain pieces of information that might be useful to others.
I've never written a fiction before about real people. . . . I read everything that I could find by people who met them and tried to get some impression of them, but as always when you write fiction, even if you have completely fictitious characters, you start by thinking of what is plausible, what would they say, what would they be likely to do, what would they be likely to think. At some point, if it is every going to come to life, the characters seem to take over and start speaking themselves, and it happened with [COPENHAGEN].
I do not think writers or anybody would sit down and think they must write about some cause, or theme, or something. If they write about their own experiences, something true is going to emerge.
Me and Conan O'Brien and Robert Smigel and Dana Carvey wrote a script called 'Hans and Franz: The Girlyman Dilemma,' and it was going to be co-produced with Arnold Schwarzenegger, and he was going to co-star in it. We had a deal with Sony, we got paid to write it, and it was a musical, but it never got made because...I think Arnold kind of backed out at the last minute because he was getting cold feet because ;The Last Action Hero' had come out, where he was parodying himself. But it was a really funny script, and I wish it could've seen the light, because I think it would've done really well.
As soon as I sat down to write music, really, with Café Blue. I just can't think about that when I sit down to write. I don't let myself. I actually don't allow myself to look at sales figures. Ever. I get the general impression that I'm not selling like Norah Jones, but I don't really pay too much attention, because I think it would corrupt me.
I get random meetings, like, 'Ron Howard would like to sit down with you.' 'Really?' If 'Breaking Bad' hadn't happened, Ron Howard probably wouldn't want to sit down with me. Because he would have no idea who I was.
Every time I try to write a song, when I sit down and think I'm going to write, I really want to write a song, and it never works out. It's always when it hits me unexpectedly on a plane or right before I go to bed, something like that.
It's rare that I'll write lyrics first. If I come up with some good lyrics, I'll write them down and try to use them later. If I come up with a song title, sometimes I'll write a song based on that. Sometimes, I'll make a whole band out of it. I don't really have a process, per se. I just keep going and going and going. Every free minute I have I'm working.
What we really have to do is take a day and sit down and think. The world is not going to end or fall apart. Jobs won't be lost. Kids will not run crazy in one day. Lovers won't stop speaking to you. Husbands and wives are not going to disappear. Just take that one day and think. Don't read. Don't write. No television, no radio, no distractions. Sit down and think. . . . Go sit in a church, or in the park, or take a long walk and think. Call it a healing day.
People expect it to be easy because there you are, out there, doing the thing that you want and making lots of money out of it. But, you know, I'm not that smooth. I can get clumsy around certain people. Like if I were to sit down and think, 'OK, I'm really famous, how am I going to conduct myself in public?' I wouldn't know who that person would be! It would be a lot easier if I could, but I can't.
I have a very hard time picturing myself in a room with some type of goo oozing out of an air vent and killing me; that doesn't really scare me because I don't think that's going to happen to me.
When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff. But there's this thing that happens when the song first comes out, that sort of magic when it first comes out of the ether, and you can't even really explain where it comes from. That happens so much with music, and people understand that with music. But I really think that a lot of movie and TV should be the same way.
The film 'The Queen' came about with a producer saying to me that he wanted me to write about the circumstances behind Diana's death. I think he was hoping that I would come up with some journalistic scoop that would identify an MI5 covert plot.
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