My upbringing made me think that real legitimate music is written, not heard.
I was never encouraged to do it and I played the accordion, which I hated. I wish I had taken piano because I definitely would have written more songs of my own, but I didn't.
Just why I sent it to the publishers would be hard to say, but when I had finished it I felt that it was literature, because it is real and because it was well written. And I know that the world wants such things.
The influence of John Hughes is fully felt in the melodrama 'Donnie Darko.' This first film written and directed by Richard Kelly is a wobbly cannonball of a movie that tries to go Mr. Hughes one better; it's like a Hughes version of a novel by Gabriel Garcia Marquez.
Ever since I've been young I've been fascinated by the human body. I've written songs about it, but you can become quite morbid if you think about it too much - paranoid and a hypochondriac.
The one thing I would like more credit for is being part of a movement which involves recognising the importance of plot and asserting that books of literary worth could be written that had plots.
But I decline to say who has ever listened to them, who has written them, or other people who have sung them.
I've written songs about things that nobody else has ever written about.
Some of the best songs I've written, I've written in 10 minutes.
I was always longing to do, emotionally and physically, what my male counterparts always got to do. I just felt envious, every time I saw a movie that I was in awe of, and it was usually a male lead. And those kinds of roles weren't available. They just weren't being written.
It was really written as most, I think, books are by writers - for themselves. There was something that just had to be written, in a way that it had to be written. If you know what I mean.
I always look to play flawed characters. I'm not very interested in playing somebody that's just, you know, the very nice one or the attractive one, or whatever, which a lot of female parts can just be written that way.
I've directed things that other people have written before, and I've written things and given them to other directors. So I'm very versatile in terms of that, and I enjoy all of it.
Every song I've ever written has been based in reality, based in fact, things that happen to me.
I understand the visual media very well, as I used to write comic books for Walt Disney, and I've written a graphic novel. How you carry a story in pictures is different than how you do it in text.
I am proudest of that first novel, 'Trust,' of anything I have written. I don't think I've had such intense energy since.
I'd never written a novel before, and I wrote a novel, and that turned out OK.
As an actor, you're tied to the writing. You live and die by what's written for you. And you can elevate that to a certain extent, but really, that's your blueprint.
Discover your own style. Don't try to repeat what has already been written - have the courage to do your own thing and don't be afraid to do something different.
I have a lot of respect for people who are great at ad-libbing and for writers and directors who are able to create a scene in which that works. Judd Apatow is fantastic at it. But as an audience member, I like the sound of something that's been written - I like it to sound written.
What underlies great science is what underlies great art, whether it is visual or written, and that is the ability to distinguish patterns out of chaos.
'Nation' was one that I'd have killed myself if I hadn't written it. It was absolutely important to me that I wrote it. It was good for my soul.
The way the law is written, people who are under 250 percent of poverty, who have a marketplace plan, also are eligible to have some of their deductible and co-pay expenses paid through cost-sharing. Insurance companies basically front the money and are reimbursed by the federal government, by HHS.
I was turning up at sets where inexperienced people were making these badly written films - but they were doing it; that was the point. They were getting their films out there. And they were paying me, so they obviously had access to money. I just thought, 'I can make something better than this.'
Learning to read the Bible in the light of the times in which it was written is critical. Reading it uncritically, without understanding the cultural and historical setting of the text, leaves us forced to accept scientific and sociological norms of the ancient Near East from 3,000 years ago.
To do it on film, where it'll be seen by more people than have seen the play since it was written, it humbles you.
My dad's songs were really written to make certain people feel as though they had some kind of value. Because they were told from where they work and from the countries they had immigrated from that they did not.
I'm not like a Sears Catalog of ideas. I don't have that many ideas. I've more or less written them over the years. Usually, I come up with a situation or a character, and it rattles around in my head until the story or the plot emerges.
Some of the best songs that I know are the ones I haven't written yet, and it doesn't even matter if I don't ever write them, because it's only small potatoes compared with the big picture.
When I talk with my students, I introduce a process of work I call the three R's: First comes research, then real world exploration, and finally, and perhaps most important, a fact-checking review of all that has been written.
I write for fun. I had written a kind of media satire, but I doubt it will see the light of day. It was just a personal project.
All the other characters are so well-rounded, and it's just frustrating because female characters aren't. It's not that they're badly written, they're just underwritten. They have no internal monologues; they could be absolutely anyone.
I write about the period 1933-42, and I read books written during those years: books by foreign correspondents of the time, histories of the time written contemporaneously or just afterwards, autobiographies and biographies of people who were there, present-day histories of the period, and novels written during those times.
Though the publishing industry swears the market is oversaturated, books written by Iraq and Afghanistan veterans and by embedded journalists keep on coming.
Write the best book you can, the one that demands to be written, no matter what genre it is. Even a trend the trades tell you has gone stale can be revitalized by a superb piece of writing. It'll never be revitalized by someone jumping on a trend bandwagon.
