I realized what interested me as a student of film was one thing and the movies that I liked were another.
That's the nice thing about collaborating with someone: Your work becomes a conversation.
A lot of black-and-white films generally have a color version that will be used for TV.
I find a lot of writing happens when you're not actually at the computer. So I carry a notebook.
I'm a huge proponent of therapy and analysis, but it's something that, in a nonprofessional way, can be abused.
I like having associations with locations beyond their meaning for the specific movie.
I thought at the time of my parents' divorce that I was upset by deeper, more profound things and I was just taking it out on the joint custody agreement. But that disruption was bad enough. That was a huge deal for a teenager.
A clear sunny day can suddenly shift to thunder and lightning, a raging storm can suddenly give way to a bright moonlit night. The weather may be inconstant, but the sky remains the same. The substance of the human mind should also be like this.
Anyone who has a simplistic idea about the Middle East, or about the conflict, doesn't get it - because there are no simple answers. And anyone who is messianic, in a right-wing way or a left-wing way, is wrong too. The way forward is a kind of cautious, commonsense approach - a cautious, humble hope. No fantasies.
Of what is lost, irretrievably lost, all I wish to recover is the daily availability of my writing, lines capable of grasping me by the hair and lifting me up when I'm at the end of my strength. (Significant, said the foreigner. ) Odes to the human and the divine. Let my writing be like the verses of by Leopardi that Daniel Biga recited on a Nordic bridge to gird himself with courage.
Fredrick Buechner kind of loosened up my clerical collar, you might say.