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I left advertising as fast as I could in 1961. And I haven't ever thought about going back.
I always felt, you don’t have a good time doin crime, you may as well find a job.
I focus on characters as individuals with attitudes and write each scene from a particular character's point of view. That way, even narrative passages take on the character's sound. I don't want the reader to be aware of me, writing.
I don't believe in writer's block or waiting for inspiration. If you're a writer, you sit down and write.
My most important rule is one that sums up the 10: If it sounds like writing, I rewrite it.
I've quit writing screenplay [adaptations]. It's too much work. I don't look at writing a novel as work, because I only have to please myself. I have a good time sitting here by myself, thinking up situations and characters, getting them to talk - it's so satisfying. But screenwriting's different. You might think you're writing for yourself, but there are too many other people to please.
Getting a second thing isn't always easy in this busy, competitive television market.
Someone called actors 'sculptors in snow. ' Very apt. In the end, it's all nothing.
I don't really want to do the Hollywood thing, I think you ought to try to say something with your movies.
I did however used to think, you know, in the woods walking, and as a kid playing the the woods, that there was a kind of immanence there - that woods, a places of that order, had a sense, a kind of presence, that you could feel; that there was something peculiarly, physically present, a feeling of place almost conscious. . . like God. It evoked that.