He taught me everything I know. Every note I write I learned from that man upstairs. People rave over my arranging today, and I just think to myself, God bless Tommy Dorsey. If it hadn't been for him, I never could have done it.
Writing is a totally different brain than directing, at least for me. With writing, you're trying your best to foresee all the problems before they happen. It's more architectural in a weird way.
You don't write for actors. Actors come for characters you've made up.
A book coming out into the world can be a harsh, harsh time. And your feelings are on the line. Everything that publication is about is really not what your writing is about. Your writing is coming out of something else, and publication and being in the public are something else. And those of us who have published, in whatever way we're published, are very fortunate.
I don't write for any group. I write to bring about a change in consciousness.
I think I've got my business notions and my sense for that sort of thing from my dad. My dad never had a chance to go to school. He couldn't read and write. But he was so smart. He was just one of those people that could just make the most of anything and everything that he had to work with.
Many have an irresistible itch for writing.
As an actor, it's a relatively passive job unless you're generating your own content or writing your own content. So to a certain degree you're at the mercy of what is available, what you're reading, what you become passionate about, and ultimately, what people want to hire you for.
I never think of my audience when I write a poem. I try to write out of whatever is haunting me; in order for a poem to feel authentic, I have to feel I'm treading on very dangerous ground, which can mean that the resulting revelations may prove hurtful to other people. The time for thinking about that kind of guilt or any collective sense of responsibility, however, occurs much later in the creative process, after the poem is finished.
My song titles have different reasons for the mistakes. "Don't You Evah," that's just the way that I've always said it, and I just thought it was funnier. "Yr. " in "You Got Yr. Cherry Bomb", it's that punk-rock way of writing "your," like "Kill Yr. Idols. " And "Rhthm And Soul" was just an actual typo that someone pointed out, and I just said, "Well, I guess that's the way it's gonna be. "
Now I'm writing about contemporary Los Angeles from memory. My process was to hang out, observe, research what I was writing about, and almost immediately go back to my office and write those sections. So it was a very close transfer between observation and writing.
When I think about it, if I had to choose, I'd rather be happy than write.
Microsoft fears Intel is eventually going to create its own operating system and optimize its chips for its own OS, cutting Microsoft out of the picture. Kind of like what Microsoft allegedly does to people who write applications for Windows.
Most of us don't have to worry about being shot of we poke our noses outside. So we are comfortable, but the people I'm writing about are definitely not comfortable, and being shot while they're still inside is a good possibility.
I have no special talent, you know. I never took a writing course before I began to write.
There is no way to write unless you read, and read a lot.
I love revisions. . . We can't go back and revise our lives, but being allowed to go back and revise what we have written comes closest.
With everything I've done from "Jackie Brown" on, I got really into really writing more prose in the - in what you're calling the stage directions, all right, and consequently my scripts have gotten bigger and bigger, and cut to "Kill Bill Volume 1 and 2. "
I decided to write a book primarily because people talked me into it.
Genius, in one respect, is like gold; numbers of persons are constantly writing about both, who have neither.