Page Quotes
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The hardest thing about writing, for me, is facing the blank page.
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What we need is an electronic encyclopedia of life, with one page for each species. On each page is given everything known about that species.
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The happy story right now is the full page in Vanity Fair, which gives me a great deal of exposure.
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I've never looked at my Facebook page or my website, because I'm fundamentally an amateur.
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I see a lot of scripts, and very few of them leap off the page at you.
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We all know funny people who can't get it down on the page - even funny writers who can't get it down on the page.
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I never listen to Led Zeppelin. But, I mean, I don't think Robert Plant or Jimmy Page listen to Led Zeppelin, either. We all probably obsessed over the same old blues records growing up.
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I'm very drawn to the human condition and the emotional aspects of stories. It's what's not on the page that I get excited about.
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I've never had a MySpace or a Facebook page. I avoid that entirely.
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I found 'Celebrity Gangster' intense, dramatic, a real page turner.
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Revision is the heart of writing. Every page I do is done over seven or eight times.
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When I was eight years old, I wrote a paragraph-long short story about a goat on my mother's hundred-pound, black-and-white-screen laptop. The story came about largely because I liked the way the word 'goat' looked on the page, but I decided then and there that I wanted to be a writer. That desire never changed.
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I had a financial page to write in the Mail on Sunday where I'd give tips on shares. I worked there for two and a half years. Nothing compares to the burst of energy felt on a newsroom floor when a big story breaks.
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But a writer's contribution is literary and a film is not literary. When you take that stuff off the page, and cast the people who are going to fit into those roles, that's what being a director is.
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I think when you go to a store and you go to the Justin Timberlake page and stream it from there, that's great, but that means you went to the store. iTunes Radio lets you discover it without you having to think about it.
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My job as an author is to tell the story in the best way possible, to make it flow seamlessly and get the reader to keep turning the page.
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Tone is somewhat totalising in that, once I locate it, it tells me what kind of syntax to use, what word choices to make, how much white space to leave on the page, what sentence length, what the rhythmic patterning will be. If I can't find the tone, I sometimes try narrating through the point of view of someone else.
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Most writers have no idea how to make a film. It's a totally different skill set. Nor is it just to translate exactly what's on the page directly on to the screen - because that would be terrible. It would be five hours long, and the structure would be a mess. But the writers know the characters and the story.
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What we call a poem is mostly what is not there on the page. The strength of any poem is the poems that it has managed to exclude.
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You can tell if you're going to be into a script within the first five or ten pages - if I'm not completely engaged by page 20, I just have to give up on it.
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Get rid of half the words on each page, then get rid of half of what’s left.
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Often it seems that there are writers who are their best selves on the page. That Seamus Heaney was as genuine and deeply admirable in person as in his poems was to me a gift, then as now.
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I have a Facebook page for me and my friends and a Twitter page.
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I think back to some of the things Harry said and some of the things I said trying to be funny. If I said them now, it would be on the front page of every newspaper in the country.
