Page Quotes
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If the part isn't always there on the page, I've had good relationships with writers where there's an openness to bring more to the role.
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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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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 found 'Celebrity Gangster' intense, dramatic, a real page turner.
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When I'm deciding to read a book, I never open to the first chapter, because that's been revised and worked over 88 times. I'll just turn to the middle of the book, to the middle of a chapter, and just read a random page and I'll know right away whether this is the real deal or not.
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As a writer, a blank page will humble the hell out of you. It always does, and it always will.
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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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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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Sometimes I have problems where I get into a mode where even just looking at a page on a screen makes me panic. And getting past that is a really intense thing to do.
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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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Revision is the heart of writing. Every page I do is done over seven or eight times.
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I mean, if you have to wake up in the morning to be validated by the editorial page of the New York Times, you got a pretty sorry existence.
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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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The hardest thing about writing, for me, is facing the blank page.
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I've never had a MySpace or a Facebook page. I avoid that entirely.
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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'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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You can give some kind of spark of life to a comic that a photograph doesn't really have. A photograph, even if it's connecting with you, it seems very dead on the page sometimes.
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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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The answer scrawled on a blank page in a daily newspaper, was conceived whilst aboard a ferry.
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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've always followed this page on Instagram called the Sausage Dog Hotel.
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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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When writing screenplays, it's a matter of remembering to leave off the page anything and everything that doesn't appear on the screen.
