Writing Quotes
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I guess the wildcard here is Terrence Malick. He supervised me while I was writing the script for Beautiful Country, and he is a genius, although not always easy to follow. What I learned from him is that the narrative can be tracked through all kinds of scenes, that the strong narrative thread is not always the one that is most obvious. Creating narrative with Malick was a bit like chasing a butterfly through a jungle. This approach to narrative is fun and complicated, something that makes the process of writing constantly interesting to this writer.
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When I was in college, I wrote poetry very seriously, and then once I had started writing short stories, I didn't go back to poetry, partially because I felt like I understood how incredibly difficult it was.
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If you mean do I use the guitar when I'm sitting at home writing stuff, then basically no, never. All I would ever write would be stuff that my fingers easily fall into.
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Writing is something I should have done more of, it's a form of coming home.
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I find writing songs hard, because it does not come naturally to me. I never set out to be a songwriter or a singer.
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I'm still auditioning and doing other movie parts, but I really like the developing and the writing. You have more control over your destiny.
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We need to include more writers from different backgrounds and ethnicities. We need to see different experiences instead of the same people writing the same kinds of stories.
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I get suggestions all the time. People feel quite free at events or even on the street to tell me what they think I should be writing. What I've learned, though, is that this thing, this connection, has to be in place for me to be able to kind of launch into a world imaginatively.
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I write for the love of writing. If I never published another book, I would still be writing stories.
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As long as Green Lantern is still dealing with fear, it's going to be relevant. 'Rebirth' really grew out of 9/11. 9/11 happened, and then two years later, I was writing about fear. It was obviously connected.
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One man writes a novel. One man writes a symphony. It is essential that one man make a film.
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I'm never sure who I'm writing for, or who's reading me, but I definitely see myself in conspiracy with my readers.
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Teaching was great for me, because I got to show people how writing can really change the way you see not only yourself but the world.
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Every song that we wrote for the first album made it. We didn't think about writing a bunch of songs and picking the best ones. We had to just make the best songs we ever wrote.
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As far as the writing goes, I started telling stories as soon as I could talk, and started writing them down as soon as I could string words together.
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The imaginative leap for me of writing for women is no more difficult than the one of writing for men. I've always wanted to have women well represented in the work that I've done because I've always been around them and around the way they look at the world.
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When you start early, and you're writing for free, there's a lot of producers that will take advantage of you... It is seared in my brain forever.
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My problem is that people have been writing books about me.A lot of things that people write about you are incorrect, but you don't fight about it.
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I work at the sentences. Many of the things people find distinctive about my writing, I think of as natural.
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One problem with writing on the computer, as I do, is that the page is never really 'blank." It is backed by all this energy or potential energy...one can always check the New York Times, or look at real estate, or investigate some intriguing new person in one's life. The span and space for writing feels like a tunnel under these massive mountains of information.
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Things we write down are the fragments shored against our ruins. They outlast us, these scraps of words on paper. Like the detritus from the tsunami washing up on the other side of the ocean, writing is what can be salvaged.
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Writing is a tribute to solitude. It is choosing introversion over extroversion, lonely hours/days/weeks/years over fun and sociability.
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A book calls for pen, ink, and a writing desk; today the rule is that pen, ink, and a writing desk call for a book.
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At the time I was writing 'Weedflower,' my friend Naomi Hirahara was writing a book about Japanese-American flower farmers. She knew quite a few elderly farmers and put me in touch with four or five of them who had been in camps during WWII. Some, like my father, were reluctant to talk about their experiences.
