Conor Oberst Quotes
I've never conceptualized much of what I write about. Maybe, once I'm onto something, I'll conceptualize a finished record. I want the songs to tie together and make sense together. I'm not like, "Oh, I want to explore this idea." That's just not how the creative process works for me. It's more like something strikes me, or finds me, and then I wrestle with it after that. I don't sit back in my armchair, like, "What kind of philosophy can I explore today?"
Quotes to Explore
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I play basketball on Sundays and I'm a very spiritual guy; I read a lot of Eastern philosophy and I meditate.
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When you're in a songwriting class, and you write a song, and you hand it in to a teacher to grade, I'm still going to say that it's a really awesome song whether I got an A or a D. I learned to stick to my guns and take the tools as tools and not as rules.
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Let us democratise knowledge. Let us universalise justice. Together, let us globalise compassion!
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It is not true that people are naturally equal for no two people can be together for even a half an hour without one acquiring an evident superiority over the other.
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I can sit and analyze everything and beat myself up and say you don't quite sing as good as you used to, you're writing better songs maybe than you used to, but to me it's just the journey.
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Hard writing makes easy reading.
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Hamish and I rarely go to launches or parties any more but prefer to spend our time hanging out together.
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I've always been a fan of science fiction. My family, we all used to watch 'Star Trek' together, which is kind of a nerdy family activity.
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It's kind of a catch-22 now because since the 'Da Vinci Code,' I have access to places and people that I didn't have access to before, so that's a lot of fun for somebody like me, but I'm always trying to keep a secret. I don't want people to know what I'm writing about.
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There are three rules for writing a novel. Unfortunately, no one knows what they are.
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Writing is a form of licensed madness.
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I didn't necessarily have a total idea when I was writing the movie of where everything was going. I just wanted to have really realistic dialogue and write like people I knew talked. I tried to keep it very real.
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Book sales and teens reading is always a fantastic thing, but we should also be celebrating and consuming the huge wealth of U.K. and U.K.-based writing and illustrating talent. Authors such as Charlie Higson, Darren Shan, Holly Smale, Tanya Byrne, Catherine Johnson, Sophie Mckenzie, to name but a few.
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I think there's something really freeing about improv, that it's a collective, creative, in-the-moment piece. That's really exciting and really frustrating, because it's there and gone. There's an amazing interaction with the audience that happens because they are very much another scene partner.
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I would wake up really early and go into the hotel bathroom, put a towel over the toilet, and put my laptop there. I'd put my headphones on and just write. And so now when I do writing sessions, and I am stuck on a part, or I can't figure out a chorus, I'm just like, 'Give me a second,' and I'll go to that bathroom.
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There has to be a social commitment, a social consciousness that joins men together. On the basis of their coming together, they do not transgress against themselves and they do not transgress against others.
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Writing is like a 'lust,' or like 'scratching when you itch.' Writing comes as a result of a very strong impulse, and when it does come, I, for one, must get it out.
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In L.A., wives can fly on the plane; with the Yankees, they can't. With other teams, the wives always have functions to bring them together. Not here. You don't know what half the wives look like.
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Ryan finally came to my rescue. He'd thought working together in Paper Moon would help us bond.
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To the strongest!
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I'd love to write something for a male protagonist. That's sort of the next frontier for me. I think it'd be really amazing to write the kind of parts that I love for women but for a guy.
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I've never conceptualized much of what I write about. Maybe, once I'm onto something, I'll conceptualize a finished record. I want the songs to tie together and make sense together. I'm not like, "Oh, I want to explore this idea." That's just not how the creative process works for me. It's more like something strikes me, or finds me, and then I wrestle with it after that. I don't sit back in my armchair, like, "What kind of philosophy can I explore today?"
