Samuel Barnett Quotes
Max [Landis] writes in quite a heightened way, specifically for Dirk. There's a rhythm and a specific speed to it, and it was very easy to learn because it was so well-written. It just rolled off the tongue. There aren't many auditions that I go for, where I feel like I could actually do the part. But with this one, even though I was not quite sure how to pin Dirk down, I thought I could do it.
Quotes to Explore
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I've been writing a lot of poetry recently. It helps me think and work things out.
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All autobiography is storytelling; all writing is autobiography.
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There's something different that happens when you're writing a song for your own record that you know you're going to sing.
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Then about 1951 I began writing again, painfully, a novel I called in the beginning A Life Sentence on Earth, but which developed into The Tree of Man.
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Honest criticism, I suppose, has its place. But honest writing is infinitely more valuable.
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I love writing. Given a choice, after directing for all these years, and if given an army of talented directors, I would not direct at all.
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Very often, writing a song is a process that happens to me rather than one that I instigate. I feel a song coming on and, like a sneeze; I wait for it until it comes.
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My highest point was the first thing I won, a short story competition in a women's magazine in the Eighties. It was the first time I'd had my writing validated, and the first thing I'd ever shown anyone else.
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The ego being shattered is not what frightens me - that can be useful for writing - but the ego being inflated is sort of like it dying of gout.
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I have yet to see a piece of writing, political or non-political, that doesn't have a slant. All writing slants the way a writer leans, and no man is born perpendicular, although many men are born upright.
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But since the middle of the century in particular, the music has become very irregular in rhythm.
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The morning is always my best time of the day for writing because that's when my head is best.
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The writing that feels the best to me, I experience sometimes, is a kind of weirdly deep listening - like, it feels like if you just listen hard enough, the next sentence will tell you what it needs to be.
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Fiscal conservatism is just an easy way to express something that is a bit more difficult, which is that the size and scope of government, and really the size and scope of politics in our lives, has grown uncomfortable, unwieldy, intrusive and inefficient.
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The nice thing about writing at home is that it's almost as though I'm doing it already. I get out of bed thinking of my work, and I don't have to go anywhere to do it.
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I don't have many easy songs.
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Writing for me is quite a plastic form, a kind of mental sculpture, although that sounds weird. It acquires its character and its depth as it goes along.
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I'm not one of those people who's so blinded by my own work and my sweat. It's kind of risky writing a memoir when you're really part of a larger universe.
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We don't claim to be infallible. I don't claim to be giving you truths from on high.
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I go to Shenzhen, China, and am taken to a vast luxury spa with a hundred leather recliners and a hundred accompanying plasma screen televisions bolted to the ceiling.
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We did some promotion work in small European clubs last summer and really enjoyed it. It gives people the chance to see you up close. We see all venues as a different challenge and we have songs that can work in all environments, even if we have to change the arrangements.
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Most people fail in life because they don't have a plan. Set a goal and write it down. Put it where you can see it every day. Work toward your goals every day.
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Max [Landis] writes in quite a heightened way, specifically for Dirk. There's a rhythm and a specific speed to it, and it was very easy to learn because it was so well-written. It just rolled off the tongue. There aren't many auditions that I go for, where I feel like I could actually do the part. But with this one, even though I was not quite sure how to pin Dirk down, I thought I could do it.
