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I've seen 'Stalker' more times than any film except 'The Great Escape.'
Geoff Dyer -
I feel that form determines how readers read a book and how they judge it.
Geoff Dyer
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Virility of one kind or another is so important if you are to feel like a man. You have to be able to perform stunts. You have to be able to show off in front of your woman, do things she urges you not to do because they look dangerous. (p. 64).
Geoff Dyer -
We have in our heads a pretty well-defined narrative of the First World War, and there are certain events that are obviously key.
Geoff Dyer -
I guess, when I left university, I liked the idea of being a writer, and I thought then that being a writer really meant that you were a novelist. But if one of the impulses for being a novelist is wanting to be a storyteller, I never had any urge to tell stories.
Geoff Dyer -
Cheever constantly voiced doubts about his writing. Reading 'The Naked and the Dead' made him despair of his own 'confined talents.'
Geoff Dyer -
Sharing a room with one person is worse than sharing with six, and sharing with six is in some ways worse than sharing with sixty.
Geoff Dyer -
While writing, I'm always so happy in the middle of a book or finishing a book and really hate starting them, so I often think, 'I wish I had a really big book to write to which I could devote seven years of my life.'
Geoff Dyer
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I first got a sense of that idea of nodality - but I didn't use the word back then - with 'The Missing of the Somme': that sense of a particular place in a landscape or on a map having some kind of tremendous power to draw us to itself... that made me conscious, and since then, really, it has been an abiding concern of mine.
Geoff Dyer -
There's something awful about Oxford, I think. It's such a little ghetto.
Geoff Dyer -
I was studying English, as you will, in the day, and five nights a week, I would be at the cinema. That continued throughout my 20s, which was also the 1980s - there was a lot of really good films coming out then.
Geoff Dyer -
I don't read 'genre' fiction if that means novels with lots of killing and shooting. Even Cormac McCarthy's 'No Country for Old Men' seemed pretty childish in that regard.
Geoff Dyer -
I was constantly surprised by how much people didn’t know. That’s one of the things about traveling, one of the things you learn: many people in the world, even educated ones, don’t know much, and it doesn’t actually matter at all. (p. 15).
Geoff Dyer -
I'm as strong and supple as a pane of thin glass. I've got too many ailments - left shoulder, left elbow and left wrist - in fact, the whole of the left arm.
Geoff Dyer
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I do understand my limitations as a fiction writer, which is why my novels are always going to be close to home.
Geoff Dyer -
There is a thematic continuity here within Bigelow's work: 'The Hurt Locker' serves up a military equivalent of the thrill-trips that Lenny Nero was hustling in her earlier 'Strange Days.'
Geoff Dyer -
It would be nice to turn off that incessant churning of consciousness.
Geoff Dyer -
The only thing that changes in my novels are the locations.
Geoff Dyer -
Despite what Wordsworth says about thoughts that 'lie too deep for tears', I think tears are a pretty reliable indication of being in the grips of a profound experience.
Geoff Dyer -
In terms of target audience, who cares what a middle-aged guy like me wants; most mainstream are not catering to me at all.
Geoff Dyer
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It's funny, because people always say when they meet me, having read me - or they read me, having met me - that they are struck by how the tone is pretty similar, in real life and in the books.
Geoff Dyer -
The CGI landscape is another world. It has its own physical laws; it can defy gravity. But surely the wonder of cinematic space is that it is wedded to reality?
Geoff Dyer -
My Tarkovsky idolatry was at its peak, but 'Nostalghia' really didn't do anything for me. 'The Sacrifice' was similarly disappointing for me. Next thing we knew, he was dead.
Geoff Dyer -
I think that if you are a resolute, unswerving atheist, you have that sense that you are conscious of the God-shaped hole that has been left in the wake of any religious belief, and in a way, one is much more drawn to articulate why it is that certain places, or certain experiences, have a kind of power.
Geoff Dyer