Writing Quotes - Page 965

In the two books I wrote, even though they were written in a sort of Joycean gobbledegook, there's many knocks at religion and there is a play about a worker and a capitalist. I've been satirising the system since my childhood. I used to write magazines in school and hand them around.

If I had the capabilities of being something other than I am, I would. It's no fun being an artist. You know what it's like, writing, it's torture.

Paul (McCartney) and I made a deal when we were 15. There was never a legal deal between us, just a deal we made when we decided to write together that we put both our names on it, no matter what.

We never write anything with themes. We just write the same rubbish all the time.

I was always writing. I was writing in high school because it was a really competitive school for class clowns; I used to have to write all of my snaps and my disses the night before and then act like I was making it up the next day.

I would be jokesmithing. I had files with tons of disses that I would try to write as I was on the train going to school.

Even if you can sing or even if you can write a song, it takes a lot of determination, it takes some kind of thick skin, because you got to persevere despite the fact that people tell you you shouldn't do this or you shouldn't do that or you're not good enough or your style's too different. I've heard all of that stuff.

There's a lot of hurry up and wait. But it gives you time to write a song.

When I write, I don't really focus on duets or anything like that, or whether I'm going to feature this or that rapper. I just focus on just making a great song and figure out the rest later.

Music business is hard. It's very difficult. And it's not for everyone. Even if you can sing or even if you can write a song, it takes a lot of determination, it takes some kind of thick skin.

I want to play music when I want, write a song if I want or watch a baseball game if I want.

I was the British spy who had come out of the woodwork and told it how it really was, and anything I said to the contrary only enforced the myth. And since I was writing for a public hooked on Bond and desperate for the antidote, the myth stuck.

What's fun about the story development at Pixar is it's a journey. You don't just write a script and then that's the movie you make. It's just constant evolution and being open to that and that collaboration with the voice actors and with the artists and animators at Pixar.

I guess we all have some sort of Rubicon that we haven't crossed in our lives and we've thought about for who knows how long. And for me, it's writing.

I wrote as a teenager, and once I started acting, you know, you're learning lines, you're doing other people's words, it takes up a lot of time. Especially if you're dedicated to what you're doing, you're trying to do a decent job at it. But I would have said to myself, "Write more, please."

It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.

If thou need money, get it in an honest way by keeping books, if thou wilt, but not by writing books.

Inferior thinking and writing will make a name for a man among inferior people, who in all ages and countries, are the majority.

Writers don't always know what they mean - that's why they write. Their work stands in for them. On the page, the reader meets the authoritative, perfected self; in life, the writer is lumbered with the uncertain, imperfect one.

The storyboard department doesn't talk to the layout department, which doesn't talk to the writing department. They're all jealous of each other.

I am in that everything [ David Foster Wallace] writes is pretty much the best stuff I've read, so that makes me a fan I guess.

We were looking to collaborate with someone on both those fronts [ writing and directing] and it ended up just being me [in Brief Interviews with Hideous Men]. So, at this point, it's the epitome of a passion project and I just hope people like it.

Let's be honest, you and I have probably seen a whole lot of family films - you have to do something special. Jim Strouse has the ability to write this hairpin turn between emotion and comedy that is very real. In real life, you don't have time to prepare for the bad stuff and you don't have time to prepare for the good stuff, it just sort of happens.

I think one of the coolest things about the job is the level of trust we have for each other. The actors fully trust that the writers will write amazing episodes, and the writers trust that the actors will follow their instincts with the characters

Writing and directing just sort of fell into my lap.