A Quote by Yann Martel
People always seek to compare. They can take the new, but only if it is somehow connected to the familiar. We need that in our lives, the mix of the new and the old. But of course I'm flattered about the comparison with Old man and the sea. Hemingway is a great writer.
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Sampling is a new way of doing something that’s been with us for a long time […] The mix breaks free from the old associations. New contexts form from old. The script gets flipped. The languages evolve and learn to speak in new forms, new thoughts. The sound of thought becomes legible again at the edge of the new meanings.
Do you think that Hemingway knew he was a writer at twenty years old? No, he did not. Or Fitzgerald, or Wolfe. This is a difficult concept to grasp. Hemingway didn't know he was Ernest Hemingway when he was a young man. Faulkner didn't know he was William Faulkner. But they had to take the first step. They had to call themselves writers. That is the first revolutionary act a writer has to make. It takes courage. But it's necessary
The thing about new things is you feel new when you buy them, you feel as though you are somebody different because you own something different. We are our possessions, you know. There are people who get addicted to buying new stuff. Things. Piles and piles of things. But the new things become old things so quickly. We need new things to replace the old things.
For successful education there must always be a certain freshness in the knowledge dealt with. It must be either new in itself or invested with some novelty of application to the new world of new times. Knowledge does not keep any better than fish. You may be dealing with knowledge of the old species, with some old truth; but somehow it must come to the students, as it were, just drawn out of the sea and with the freshness of its immediate importance.
I always feel like you can take a genre that has a familiar structure to it and then reinvent it as a character piece. Suddenly, what's old is new again. With 'Fargo,' I adapted a movie without any of the characters or the story. Yet somehow it feels like 'Fargo.'
If you want to be a new man you have to stay in new places, and do new things, with people who never knew you before. If you go back to the same old ways, what else can you be but the same old person?
There's always a great hue and cry when you sign onto a "remake," and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.
Whoever lives for poetry must read everything. How often has the light of a new idea sprung for me from a simple brochure! When one allows himself to be animated by new images, he discovers iridescence in the images of old books. Poetic ages unite in a living memory. The new age awakens the old. The old age comes to live again in the new. Poetry is never as unified as when it diversifies.
We need new art. Old art cannot do that. It can do lots of other things, and of course humanity hasn't changed that much in the last thousand or two thousand years.So that the old Greek dramas are still at the very heart, core, of human experience, but still we need new stuff.
'Orphee' is, for me, about changes: about moving to a new city, leaving behind an old life in Copenhagen, and building a new one in Berlin - about the death of old relationships and the birth of new ones.
When people come to see me, they'll see what they know me for. Hits from the past, but I always mix in a little something new. New stuff. Old stuff. It creates a great show. There's a lot of crowd participation. A lot of interaction and energy. That's what I do best.
When I am back in old Blighty, I am surrounded by the old and familiar concerns: New Labour, Europe, the Middle East and the rest. If you live in Britain, you will know what I mean - except you won't, because you will take it for granted that this is what the world is all about.
If old consumers were assumed to be passive, then new consumers are active. If old consumers were predictable and stayed where you told them, then new consumers are migratory, showing a declining loyalty to networks or media. If old consumers were isolated individuals, then new consumers are more socially connected. If the work of media consumers was once silent and invisible, then new consumers are now noisy and public.
Home. It's being new and old all rolled into one. Measuring your new against old friends, old ways, old places, Knowing that as long as the old survives, you can keep changing as much as you want without the nightmare of waking up to a total stranger.
The facts of nature are what they are, but we can only view them through the spectacles of our mind. Our mind works largely by metaphor and comparison, not always (or often) by relentless logic. When we are caught in conceptual traps, the best exit is often a change in metaphor not because the new guideline will be truer to nature (for neither the old nor the new metaphor lies "out there" in the woods), but because we need a shift to more fruitful perspectives, and metaphor is often the best agent of conceptual transition.
You grow a whole lot more as a writer by getting old stories out of the house and letting new ones come in and live with you until they grow up and are ready to go. Don't let the old ones stay there and grow fat and cranky and eat all the food out of the refrigerator. You have dozens of generations of stories inside you, but the only way to make room for the new ones is to write the old ones and mail them off.
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