Book Quotes
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When you audition for something, and you book it, you think, 'Okay, well, I got the job, and now I actually have to show up on set and do it.' So, you show up on set, and you don't know, 'Am I going to get swallowed up by these people?'
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When you sell a man a book, you don't sell him 12 ounces of paper and ink and glue - you sell him a whole new life.
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I've been wanting to do a book about baseball for the longest time, and nobody will let me do it. It's the one thing from America I really miss.
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First of all there is always that artistic challenge of creating something. Or the particular experience to take slum life in that period and make something out of it in the form of a book. And then I felt some kind of responsibility to my family.
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Presumably the child-brain is something like a note-book as one buys it from the stationer's. Rather little mechanism, and lots of blank sheets.
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I made the first 'Blumen' picture after looking at Robert Mapplethorpe's Pictures book. I was struck by how much freedom Mapplethorpe was able to extract from his model's restraint-that in tying up and cropping his models, he appears to be able to work with people as forms. I never thought about my flowers as related to his (which I saw as annoyingly erotic); I thought of them in relationship to bondage. I wanted to make the flowers more aggressive and ironic and less docile and sensual.
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I wrote my first play because I wanted to try directing something, and I couldn't afford the rights - it was an adaptation of a book called 'The Wave' by Morton Rhue.
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Being a filmmaker in the digital platform has given me complete creative control. I can make what I want, when I want. I don't have to wait to book an audition.
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I tell people life is like a book being written by heavenly hands that we can't see.
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My hope is that I'm getting better and wiser. With every book, I have more of myself to pour onto the page.
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A novel is like a gland pill - it nips off the cream of my hysterics and gets them running on track in a book where they belong instead of rioting all over my person.
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A book sometimes seems to impose a through-line to life that real life doesn't actually have.
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'The Red' is the first book in a trilogy that gained a big following as a self-published e-book, and is now out in paper from Saga. It introduces us to reluctant hero Shelley, a former anti-war activist who chooses to join the military rather than serve jail time after being arrested at a protest.
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Every book, remember, is dead until a reader activates it by reading. Every time that you read you are walking among the dead, and, if you are listening, you just might hear prophecies. Aeneas did. Odysseus did. Listen to Delany, a prophet.
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With stand-up, I can have an idea, go down the street to a comedy club and work on it, flesh it out, book a venue, people will come, then film it. I do all that myself; I never have to answer to anybody.
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It feels like my books come true. I write these things, and then they kind of end up happening. I wasn't divorced, for example, when I wrote a book about divorce.
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Everything I've wanted to turn into a film becomes something new and different when it becomes a movie... Each time I work with an author, I say to them, 'A book and a movie are different things.'
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It is one of the many merits of this admirable biography of Proust's mother that it invites one to return to the novel with perhaps a fuller understanding of Proust's heredity, hinterland, and upbringing. . . . This fascinating book is full of interesting social and cultural observation, of information about French Jewish life, the position of Jews in society and, of course, the Dreyfus case. But it is essentially a study of one of the most remarkable and fruitful of mother-son relationships. As such it is a book that every Proustian will want to read.
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If you have a book to write, write it. If you want to record an album, record it. No need to wait for someone in a cubicle halfway across the country to decide if you're worthy.
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There isn't a book that has changed me, but I have favourites such as 'Pride and Prejudice' which I often re-read.
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I do have a touch of OCD, and I used to obsess about research. But I'm better than I was. Gone are the days when I would drive to a set of traffic lights to find out if you could turn left. I finally realised it didn't matter. A book will not stand or fall on whether or not there's a branch of Starbucks in Brixton.
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One of the things that did intrigue me about when I read the pilot - because I had not read the books before doing the show - was the mystery aspect of it. I didn't feel that it was just a crime-based story. It really does have that mystery element, and it felt like a throwback to other shows in the past that had a bit more of that. There was something iconic about it. The fact that it's set in Boston gave it a feeling that was different to me. So, I am definitely more of a fan of mysteries than I am of a circular crime-based genre.
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I would never write realistic prose. I don't like people who try to write in a poetic style, but in the course of their book abandon it for realism, and weave back and forth like drunkards between the surreal and the real.
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I didn't like being a name attached to a book.
