Richard MacDonald Quotes
I was tired of illustration. You'd work so hard on a commission and it would go in to a magazine, and you'd turn the page and it was gone.
Quotes to Explore
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If I'm feeling desperate, I'll go out image-hunting. I'll go to news agents and stand at the rack flicking through magazines or go to second-hand bookshops. And then, bit by bit, like concrete poetry, I start to realise that I am drawn to particular things, and then I start wondering why that is.
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Even before my audition, there were several pages missing from my script because those bits were so unbelievably secret not even I was allowed to see them.
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I don't read books regularly, because I'm always writing them. I've written 30 books, thousands of pages.
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I no longer buy papers or tabloids or magazines or read blogs. I used to. But it was just filling up my day with hatred.
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I don't like stories where I'm being given pages and pages of detail.
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To know what you’re going to draw, you have to begin drawing... When I find myself facing a blank page, that’s always going through my head. What I capture in spite of myself interests me more than my own ideas.
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There is no more striking illustration of the immobility of British institutions than the House of Commons.
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If you're trying to drop ten pages from a screenplay, it hurts like hell, but if you just put it away for a month and then take it out, you can do it just like that!
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If you play "I Don't Want To Know" by Fleetwood Mac loud enough -- you can hear Lindsey Buckingham's fingers sliding down the strings of his acoustic guitar. ...And we were convinced that this was the definitive illustration of what we both loved about music; we loved hearing the INSIDE of a song.
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If you send your work to the magazines, you may be in for a shock. You may get a rejection note. The worst kind. A printed form. And probably you will be shattered. Shattered.
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Work. Write. Read. Keep putting words on the page, because that's the only way you'll get better.
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Painting and illustration cannot be mixed—one cannot merge from one into the other.
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I listened as the words became sentences and the sentences became pages and the pages became feelings and voices and places and people.
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May I ask you what these questions tend?' 'Merely to the illustration of your character,' said she, endeavouring to shake off her gravity. 'I am trying to make it out.' 'And what is your success?' She shook her head. 'I do not get on at all. I hear such different accounts of you as puzzle me exceedingly.
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I remember when I first started being in magazines, I had pretty thin skin. I was this nerd that read books and stayed home and didn't go out.
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An ending was an ending. No matter how many pages of sentences and paragraphs of great stories led up to it, it would always have the last word.
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When I look at my career, the bulk of it has been television, and I love working in television. But there's a speed at which you do it. You're doing seven to ten pages a day on a series, and it's hard to feel like you're doing the detail-oriented work that I like to do.
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I try to make time for reading each night. In addition to the usual newspapers and magazines, I make it a priority to read at least one newsweekly from cover to cover. If I were to read what intrigues me- say, the science and business sections - then I would finish the magazine the same person I was when I started. So I read it all.
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Instead of trying to come up and pontificate on what literature is, you need to talk with children, to teachers, and make sure they get poetry in the curriculum early.
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I should never have surrendered. I should have fought until I was the last man alive.
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Even on my films, I always collaborate with the actors. That's a given. I think you need that. You need the actors to feel as much ownership of the performance and the direction of the story as you do, to get the most out of everyone's potential.
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I was tired of illustration. You'd work so hard on a commission and it would go in to a magazine, and you'd turn the page and it was gone.
