A Quote by William H. Gass
I get very tense working, so I often have to get up and wander around the house. It is very bad on my stomach. I have to be mad to be working well anyway, and then I am mad about the way things are going on the page in addition. My ulcer flourishes and I have to chew lots of pills. When my work is going well, I am usually sort of sick.
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You get those hunger pains. 'I am so hungry. We don't have any food. What are we going to eat?' Your stomach hurts. Then you get so upset and mad, like, no food. You start having tantrums and don't want to do anything. You get mad at everybody because you don't have any food. That's what happens when you don't eat. You are so sluggish.
I will cross that bridge when it comes. I am not stupid. I am a very bright guy. I know that in the fighting game, you get people who get brain damage and do themselves long-term harm. I am into it in a big way, and I am good at it, and I am going to get very, very rich and then I will get out and we will see what comes after that.
I always have a few ideas that are percolating, and then after I've finished a book and it's a year later, and things are sort of festering and things are disgusting in my house and I have to get back to work, whatever project I keep thinking about is the one I end up working on. Sort of a very simple process of elimination.
He’sh mad?’ ‘Sort of mad. But mad with lots of money.’ ‘Ah, then he can’t be mad. I’ve been around; if a man hash lotsh of money he’sh just ecshentric.
Working as a lawyer, you have a lot of pressure. But if you go crazy, you are not going to get anything done! When I am under pressure, I am the most determined person in the world. I function very well.
The plot is very important because writers have to play fair with their readers, but no one would care about the plot if the character work wasn't there. So, basically every book I work on starts with me thinking not just about the bad thing that's going to happen, but how that bad thing is going to ripple through the community, the family of the victim, and the lives of the investigators. I am keenly aware when I'm working that the crimes I am writing about have happened to real people. I take that very seriously.
I am mean; I'm nasty at times. I don't feel like talking to people at times. When I am in a bad mood and have had a really awful day, don't come in my face because I am not tolerant and I am not a goddess; I can't handle it after a point. I am going to get up, and I am going to scream, and I am going to say bad things to you.
I love working that way, and that's sort of the way that Mark, Jay, and I have been working for years, where we start with scripts that are really solid and well-written. But once we get into the scene and we start doing the work, we definitely loosen things up.
It seems so absurd to get really mad with a cartoonist over a comic strip. It's sort of like getting in a fight with a circus clown outside your house. It's not going to end well.
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
When it was announced that Michael Keaton was going to be Batman, everyone was mad. When they announced that Val Kilmer was going to be Batman, everyone was mad. When it was announced that George Clooney was going to be Batman, everyone was mad. When it was announced that Christian Bale was going to be Batman, everyone was mad. And everyone was mad about Ben Affleck. So every single incarnation, people are going to be mad; you just can't do anything about it.
I eat like a maniac when I am sick. My attitude is if I am going to die anyway in the next 24-48 hours, I mind as well live it up.
Oh yes, things get me mad. But the thing is, I get mad, and then I turn around and I forget.
There's only one way to become a hitter. Go up to the plate and get mad. Get mad at yourself and mad at the pitcher.
My working hours are not that conventional. I often get up about two in the morning and do a painting, and then I'll have a bath, and then I often feel very hungry around 4am, so I'll go into Soho and have a meal somewhere like Balans. That's what I love about living here - there's always life around me.
[Paul Scheer] was kind of pretending to not be as sick as he was. And then we almost pulled into this spa when I finally called it and said, "I'm very ill. We need to go home." And he said, "I am, too." He said that he wasn't going to do his treatments, he was going to - by the way, these are great problems to have - he was going to lie in the men's relaxation room in between throwing up. I was like, "This is insane. We're sick, and we need to just acknowledge it. And it sucks that it happened on my birthday, but let's get back into bed."
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