A Quote by Gervase Hughes
It has been said that if the opening phrase of a classical minuet can be fitted to the words "Are you the O'Reilly who owns this hotel?" then it was written by Haydn; if it can't then it wasn't.
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You've been quiet these past days," Trevanion said. "Are you going to tell me what the...exchange of words was about?" "Who said there was an exchange of words?" Finnikin asked with irritation. "When a woman says 'I hope you fall under your horse' and 'catch your death, then see if I grieve you,'" Perri said, "then there's been an exchange of words." Finnikin glared at him. "In my humble opinion.
And then there was my mate who'd just been fitted with a brand new hearing aid. "It's the best in the world", he said. "What type is it?", I asked and he said "ten past twelve".
Bill O'Reilly knew he could just filibuster and enjoy all the airtime that a full interview would give him, and then also grab the sensationalist headlines that he enjoys creating. He used this as fodder for his show for weeks. I wouldn't want to be on the bad side of Bill O'Reilly. But then again, maybe I am now. By giving this interview.
I do a real analysis of who actually owns things - it’s the British…the Dutch…then it’s the Arabs…then it’s the French…then it’s the Jews…and then, on down the line.
I've been working hard on [Ulysses] all day," said Joyce. Does that mean that you have written a great deal?" I said. Two sentences," said Joyce. I looked sideways but Joyce was not smiling. I thought of [French novelist Gustave] Flaubert. "You've been seeking the mot juste?" I said. No," said Joyce. "I have the words already. What I am seeking is the perfect order of words in the sentence.
It’s the opening of Manderlay in Cannes, and I’m sitting next to this guy who’s writing for a tiny fictitious French paper called ‘On the Sunny Side,’ and he’s writing a review on the film, and he’s obviously bored. Then he tells me about all the cars he owns, and how rich he is, and all these things... So, at a certain point, he says, "So what do you do?" Then I take out this very strange hammer we have in the Danish building business, and I say, "I kill." And then I kill him. It is as stupid as it sounds.
With me, traveling for work is arriving at the airport, checking into the hotel, leaving the hotel the next morning at 4 or 5 to do something like 'The Jimmy and Jackie Captain Crazy Morning Zoo,' doing a bunch of those in a row, then going back to the hotel, and then finally going to the club.
For the first movie, they had the girls in one hotel and the boys in another hotel. Then, we found out that they actually preferred their hotel, so we moved over there and all hell broke loose.
Poetry, at least the kind I write, is written out of immediate need; it is written out of pain, joy, and experience too great to be borne until it is ordered into words. And then it is written to be shared.
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.
It has been said, "History is written by the victors." I take this to mean we can make ourselves victorious by writing, and then rewriting our own stories. In a country and culture so dominated by media, by the manipulation of words and stories, telling the tales of people whose stories historically have not been told is a radical act and I believe an act that can change the world and help rewrite history.
The minute you read something and you can't understand it, you can be sure it was written by a lawyer. Then, if you give it to another lawyer to read and he don't know just what it means, then you can be sure it was drawn up by a lawyer. If it's in a few words and is plain, and understandable only one way, it was written by a non-lawyer.
Back when the Bible was written, then edited, then rewritten, then rewritten, then re-edited, then translated from dead languages, then re-translated, then edited, then rewritten, then given to kings for them to take their favorite parts, then rewritten, then re-rewritten, then translated again, then given to the pope for him to approve, then rewritten, then edited again, the re-re-re-re-rewritten again...all based on stories that were told orally 30 to 90 years AFTER they happened.. to people who didnt know how to write... so...
'Writing' is the wrong way to describe what happens to words in a movie. First, you put down words. Then you rehearse them with actors. Then you shoot the words. Then you edit them. You cut a lot of them, you fudge them, you make up new ones in voice-over. Then you cut it and throw it all away.
Mom?" I said. She turned. "Can I talk to you about something?" "Of course, darling. Come here." I took a few steps into the room. There was so much I wanted to say. "I need you to be --" I said, and then I started to cry. "Be what?" she said, opening her arms. "Not sad," I said.
It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony.
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