J. Tillman Quotes
You know, there's an economy in lyric-writing that doesn't afford you, or at least me - I usually start off with nine or 10 verses and then boil it down to two or three that are half the length of the original verses.
Quotes to Explore
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The trick to acting is not to show off, it's to think the thoughts of the character.
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In America, people think being South Asian is still kind of exotic. When you go outside New York and Chicago and L.A., there are people who have never tried Indian food... they've never even tasted it!
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I don't carry a wallet. I keep my cards in my pocket and cash in my boots.
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I find it fascinating that a lot of business books that do well are from people who've never made any money in business.
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If Boston charters can be stymied despite their extraordinary success, charters anywhere can be stopped.
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I learned so much in Zimbabwe, in particular about the need for humility in our ambition to extend mental health care in countries where there were very few psychiatrists and where the local culture harboured very different views about mental illness and healing. These experiences have profoundly influenced my thinking.
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I go straight from thinking about my narrator to being him.
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The most inspiring objects are books. I have about 5,000 volumes in my home library. It's an unending source of visuals and ideas.
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I was quite keen on silviculture, the growing of trees, and that was something I gave a lot of thought to. Maybe I could've gone in that direction. But it just so happened that while I was trying to make up my mind, I enrolled in art school, and there I began to develop my interest in music, parallel with my interest in the visual arts.
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Publishers vet books, and they do a good job keeping out the low quality. But they also miss some good quality.
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I don't commit to things unless I have my A-team to do it. And I'm not trying to be cocky, but that shows in my productions. They are top notch!
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No one escapes from the past without bearing some of its burdens.
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I really enjoy doing films, but I also love television. I certainly would not be against doing some regular television work and being on a show that runs several years.
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For as long as I could remember, the person in E23 pasted the same Halloween decoration, a witch with a giant wart on her crone's nose, but whenever kids rang, the tenant wouldn't answer. At first, kids figured they'd just missed the guy: bad timing. But it seemed impossible that all of us missed him every year.
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On the small scale, 'Ico,' I think, actually delivered a small new thing: holding a character's hand and really feeling like your job is to rescue this person, and establishing a personal connection.
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Family quarrels are bitter things. They don't go according to any rules. They're not like aches or wounds, they're more like splits in the skin that won't heal because there's not enough material.
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Everything that has a beginning comes to an end.
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I tend to write short, brief snippets - I lean toward the chamber music end as opposed to the symphony end of things.
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He is far too intelligent to become really cerebral.
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Banks are concerned the central bank is imposing too many regulations. If the trend continues, we'll swing to heavy regulation. We need to have balanced regulation to encourage the economy.
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When children start to speak they find their own voice by imitating the sounds around them. It would follow that bands do the same. Bands will find their own voice at some point.
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The centerpiece of 'Law and Order' is the crime, and it starts with the writing. There's a beginning, a middle and an end. It allows the audience to watch any given episode and can drop right in and not feel lost. I think the stark, raw structure has a lot to do with its longevity.
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One of the things I strive for is realism. I need to be as real as possible in the dilemmas my characters face.
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You know, there's an economy in lyric-writing that doesn't afford you, or at least me - I usually start off with nine or 10 verses and then boil it down to two or three that are half the length of the original verses.
