A Quote by Wayne Coyne
You can't really imagine every moment of a movie in the same way that you wouldn't expect a novelist to envision every sentence of his 800-page novel.
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Every moment has infinite potential. Every new moment contains for you possibilities that you can't possibly imagine. Every day is a blank page that you could fill with the most beautiful drawings.
Another reason I think the novel will survive is that the reader has to work in a novel. In a film, you are presented with someone else's imagination exactly bodied out. The marvelous thing about a novel is that every reader will imagine even the very simplest sentence slightly differently.
Life always gives us exactly the teacher we need at every moment. This includes every mosquito, every misfortune, every red light, every traffic jam, every obnoxious supervisor (or employee), every illness, every loss, every moment of joy or depression, every addiction, every piece of garbage, every breath. Every moment is the guru.
The writing in Mission to Paris, sentence after sentence, page after page, is dazzling. If you are a John le Carr fan, this is definitely a novel for you.
The secret of good writing is to strip every sentence to its cleanest components. Every word that serves no function, every long word that could be a short word, every adverb that carries the same meaning that’s already in the verb, every passive construction that leaves the reader unsure of who is doing what—these are the thousand and one adulterants that weaken the strength of a sentence. And they usually occur in proportion to the education and rank.
Adapting a novel is not really about being faithful to every word and every moment the author has created. It's more about that same story being filtered through somebody else's sensibility.
Every movie is a road movie. Every novel is a mystery. Every tortilla chip is sacred.
The essential gesture of the contemporary novel is to get people to turn the page, to entertain them, and I hate that. I want a novel where the gesture is towards existential investigation on every page. That, to me, is thrilling.
I huff and puff and struggle with every sentence, paragraph and page - sometimes every word as well.
I think a novelist must be more tender with living or 'real' people. The moral imperative of having been entrusted with their story looms before you every day, in every sentence.
One tires of a page of which every sentence sparkles with points, of a sentimentalist who is always pumping the tears from his eyes or your own.
It's just like they approach things on every movie I've worked on, very much as if it was a live-action movie. The character you're playing, even though he's a rooster and is really stupid, you approach it in the same way you would approach Hamlet, which is exactly how I approached it. But they give you the circumstances. "You're on the boat. You didn't expect to be here. You just climbed in a boat to maybe sleep. You don't even know why you climbed in the boat. You're really that dumb.
I'm an old guy, and I was protesting during the Vietnam War. We killed fifty Asians for every loyal American. Every artist worth a damn in this country was terribly opposed to that war, finally, when it became evident what a fiasco and meaningless butchery it was. We formed sort of a laser beam of protest. Every painter, every writer, every stand-up comedian, every composer, every novelist, every poet aimed in the same direction. Afterwards, the power of this incredible new weapon dissipated.
We [with Frank Moore Cross] have the same fervor, the same passion when in front of us is a page, a unique page - every page is unique - of the Pentateuch.
Imagine if we had a food system that actually produced wholesome food. Imagine if it produced that food in a way that restored the land. Imagine if we could eat every meal knowing these few simple things: What it is we're eating. Where it came from. How it found its way to our table. And what it really cost. If that was the reality, then every meal would have the potential to be a perfect meal.
Once in a while - perhaps every 10 years, or even every generation - a novel appears that profoundly questions the way we look at the world, and at ourselves. Beijing Coma is a poetic examination not just of a country at a defining moment in its history, but of the universal right to remember and to hope. It is, in every sense, a landmark work of fiction
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