My personal relationship with music is an imperfect harmony because I never studied music, but here I am not just writing for bands but full orchestral sections and doing all this composition, and I never learned the right way of doing things so I have a lot of dissonant sounds and things that are brought to my attention, and generally I leave them that way because I like those imperfections.
I think I might write a book. I like writing. People have asked me if I would get into politics, but I think I feel a lot more effective being a representative of truth through the arts.
What I do is give Ennio Morricone suggestions and describe to him my characters, and then, quite often, he'll possibly write five themes for one character. And five themes for another. And then I'll take one piece of one of them and put it with a piece of another one for that character or take another theme from another character and move it into this character.... And when I have my characters finally dressed, then he composes.
What I find is that many times when I work with chance, with indeterminacy, I am more open to experience, less prone to a fixed process, and I think it creates a very important challenge. It creates a way of writing that is, in a way, flatter or smooth, a surface conducive to release, to movement. And in this way, the form of writing gets delightfully melded with the process of the writing.
Not to say that the process assumes anything of "greater" or "lesser" importance, though: it's just more graphic information. Take the surrealists, for example, or a work by Cage. For me, there's a great value in doing this with literature. There's a certain form of dependence; process and product inform each other, depend on each other. I consider myself a writer who doesn't write with a style, almost. I begin with tension, with a vibe, a character.
We can speak of politics, ethics, and in this way, speak about the world. But at the same time, it's always in a way that is totally nebulous and abstracted, this way of thinking about reality. And that's why I write the way I do - it's an almost immortal way to show dependence on the biological, the political, the moral parts of us. I say immortal because we now have to find new formats, new eloquences, and resolve within ourselves this "constructed" life, a life that is incomplete, imperfect.
I have always loved horror very much. I used to write stories for DC's House of Mystery. It was one of my first jobs writing for comics, and I loved it.
It's great to be excited by your profession, whether you are a doctor or a writer. I started writing books when I was in medical school and, by the time I graduated, I realized that writing was more exciting to me than being a doctor. And if I tried to be a doctor and a writer, then both would suffer.
I'm currently writing a screenplay that I haven't started yet.
I've been writing, but I haven't been writing. In my mind I've been saying I want to write, but I haven't actually physically picked up a pencil and started writing.
We ought not to confine ourselves either to writing or to reading; the one, continuous writing, will cast a gloom over our strength, and exhaust it; the other will make our strength flabby and watery. It is better to have recourse to them alternately, and to blend one with the other, so that the fruits of one's reading may be reduced to concrete form by the pen.
What am I writing for anyway? Is it like dreaming? Is it a benevolent process? Something that moves the past forward? And what about those people who say all you get from looking at the past is a stiff neck?
I like having people with me to lean on and write with and have fun with.
I had stopped writing plays set in villages because they were not relevant to my experiences and I knew my English classmates wouldn't appreciate them.
I don't write non-fiction because I get bored. Some of my writing is autobiographical, but not the way readers imagine. I use my memory of settings, events and people. I weave history into my stories, but my narratives are made up.
My accountancy experience could come in handy if ever I find myself in the right position. For now, I'm very happy to write.
I enjoy writing plays most. I haven't written a radio play in a while and I don't write short stories anymore because the process of submitting them depressed me. I really enjoy revising novels, but drafting them can be a pain.
I can't say L'Etranger influenced me to write, but for the first time I considered the possibility of telling a story that resembled my own experiences in my own voice.
I'm disciplined about writing. I get up every day knowing I have to produce work. I'm less concerned about other aspects of the job, such as the prizes and promotions. Promoting my work can be awkward, unless I feel sociable enough. Prizes encourage me to work harder on my next project.
I'm addicted to writing.
I have to say that writing about my writing process is more daunting than writing non-fiction.
For all forms, writing dialogue is almost like writing music. I pay close attention to rhythms and tones.
I don't have a schedule, but I can write for hours non-stop. If I'm drafting a book, I try and do a chapter a day. I dislike first drafts. Revision is a lot more fun, but it takes years.
Pastoureau combines a charming, conversational tone with a haughtiness I found entirely endearing. A director of studies at the Ecole Pratique des Hautes Etudes at the Sorbonne in Paris, he writes from a position of professorial confidence. He has conducted extensive research into the history of colour for a quarter century and his aim is to correct misapprehensions and banish ignorance. His style is not to inquire, explore or interrogate, in the fashion of academic studies today. It is to impart knowledge.
I went to Afghanistan in '96 to write about terrorist training camps south of Jalalabad and Tora Bora, in the mountains. I was there right before the Taliban took over, literally a few weeks before they took Kabul. The frontline wasn't terribly active, but it was definitely there. And they swept into power.
