A Quote by Vikram Seth
Why do writers, say, give up a job in economics and decide to write poetry? Or, why do they give up a job in a bank and decide to paint, like Krishan Khanna? They want to convey something.
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Our job is to give people not what they want, but what we decide they ought to have.
When I write a project, it might be something that I want to do and then when I look at it, I'm actually like, "I kind of don't want to direct it." I don't know why, I still love it enough for it to be made and to support it, but I don't want to direct it. I just give it to other directors and they do a good job!
In entrepreneurship, you decide to give up your day job at the point where either (A) the hobby/new business is at least making some form of ends meet, or (B) you feel that you need to dedicate yourself for a certain amount of time to it and give yourself the last hoorah.
I don't understand why it's more socially acceptable to say that you are a shallow person than to just say this is not something you want to do. Especially because it's a really hard job. It's a really important job. And why the hell should you do a really hard, important job that you don't want to do? That has extremely high stakes? That just blows my mind.
When some people have a difficult job to do, they give up everything else until that job is finished. Others just give up.
I don't really decide what the core of the story is before I write. I write to figure out what the story is. And I think the characters end up talking to you and telling you what they want to be doing and what is important to them. So in some ways, your job is to listen as much as it is to write.
Believe me, if anybody has a job and starts at 9, there's no reason why they can't get up at 4:30 or five and write for a couple of hours, and give their employers their second-best effort of the day - which is what I did.
Jerusalem is the capital of Israel. Take that off the table. Tell both sides to come together and say, 'Okay, you decide how you want to split up Jerusalem. You decide if you're going to create boundaries or borders there.' And let them decide.
A catcher must want to catch. He must make up his mind that it isn't the terrible job it is painted, and that he isn't going to say every day, 'Why, oh why with so many other positions in baseball did I take up this one.'
You can ask the people around me. I don't give up. I don't give up. I don't give - and it's not out of frustration and desperation that I say I don't give up. I don't give up because I don't give up. I don't believe in it.
It's obvious that I'd like to keep the captain's armband. The job gives me a great deal of enjoyment. Why should I then give it up by choice?
When you make an album, you have to decide how much you want to give away; you have to decide how much you want to open up. Because the more you open up the more rewarding it can be but the more dangerous it can be. If you really open up and it gets panned it's really painful.
Do I like to write? Why? About what? Will I give up and say, "Living and feeding a man's insatiable guts and begetting children occupies my whole life. Don't have time to write"?
People say, 'Well, why don't they get another job, why don't they pick themselves up by their bootstraps?' Well, the people that say that probably have the kind of jobs where they don't work that hard, so maybe they could have another job.
As a songwriter, you're never off - for me, anyway. There's a certain mentality of people that decide, "Oh, we're going to try to write songs from this time of the day to this time of the day." Almost treat it like a real job. I can't do that. I've never been able to write songs like that. You never know when something creative is going to hit you, or emotion or whatever. You can take it, and turn it into something that makes somebody feel something. I love that about my job.
It's far easier to write why something is terrible than why it's good. If you're reviewing a film and you decide "This is a movie I don't like," basically you can take every element of the film and find the obvious flaw, or argue that it seems ridiculous, or like a parody of itself, or that it's not as good as something similar that was done in a previous film. What's hard to do is describe why you like something. Because ultimately, the reason things move people is very amorphous. You can be cerebral about things you hate, but most of the things you like tend to be very emotive.
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