Zitat des Tages über Raymond:
Raymond Floyd. The man knows how to control situations. He was experienced. He didn't let me get overly excited; he kept me in check. It allowed me to free myself up, and I played really well with him.
I don't really get a chance to watch much television. I mostly watch BBC Worldwide and repeats of Seinfeld and Everybody Loves Raymond.
I am really into how words sound out loud, so I was always the kid who would, like, read the page of the book to herself in her room over and over and over. And Raymond Carver is great for that. Tobias Wolff is an author who is really good for that as well.
I was very lucky with 'Soap' and 'Who's the Boss,' which was great fun, and then went on 'Coach' and 'Everybody Loves Raymond.' I've been truly blessed, and the work has all been fun and a joy.
I'm a disciple of Raymond Chandler, who said in his essays that there's a quality of redemption in anything that can be called art.
In researching 'The Luminaries,' I did read quite a lot of 20th-century crime. My favourites out of that were James M. Cain, Dassiell Hammett, Raymond Chandler and Graham Greene and Patricia Highsmith.
My literary heroes all wrote about L.A.: Joseph Wambaugh, Ross Macdonald, and Raymond Chandler were the three writers that made me want to be a writer.
Raymond Carver is good. I think he'll be appreciated more and more. He's an easy writer to imitate.
With 'Worst. Person. Ever.' I knew where it started and where it had to end, but I threw Raymond as many curveballs as I could along the way. He's like the coyote in the 'Road Runner' cartoons.
I didn't want to have to follow 'Everybody Loves Raymond' with another sitcom. Let it be my sitcom legacy, and leave it at that.
Boy, we'll get Raymond out and we won't go hungry anymore.
Peter Boyle on Everybody Loves Raymond is more of an insane Dad.
I wrote my graduate thesis at New York University on hard-boiled fiction from the 1930s and 1940s, so, for about two years, I read nothing but Raymond Chandler, Dashiell Hammett, James Cain and Chester Himes. I developed such a love for this kind of writing.
What brought me to the table was Raymond Chandler and, to a lesser degree, Ross Macdonald and Dashiell Hammett. I was basically inspired to want to write like the classic private-eye writers.
I think Raymond is very honest about human relationships.
I used to do my best thinking while staring out airplane windows. The seat-back video system put a stop to that. Now I sit and watch old' Friends' and 'Everybody Loves Raymond' episodes. Walking is good, but here again, technology has interfered. I like to listen to iTunes while I walk home. I guess I don't think anymore.
The same issue is happening on a show like Everybody Loves Raymond now, which is in its eighth year and struggling to come up with good stories. It'll be interesting to see how they do. The bottom line is, it starts with the writers and ends with the writers.
It's not a terribly original thing to say, but I love Raymond Carver. For one thing, he's fun to read out loud.
I can't believe how blessed I am! I'm married to the most wonderful man, Gene Raymond, whom I'm deeply in love with, and, my career is right where I want it to be. I can live like this forever!
Raymond Chandler once wrote that Dashiell Hammett gave murder back to the people who really committed it.
I like to think I'm writing in the tradition of Raymond Chandler, although I don't ape his style.
John Dos Passos, Raymond Carver, Flaubert and William Maxwell were all very influential when I first started writing. Now, the writers I'm most interested in are the writers who are most unlike me: for example, Denis Johnson.
Raymond Chandler managed to write about L.A. his whole career. Should I keep going writing about New York? Is that what I should be doing? Songwriting doesn't work that way.
I not only read Raymond Chandler but read all the crime fiction classics. I was hooked.
My music is about where I am at the time. In 'Raymond vs. Raymond,' I was going through a lot of things, and it came out in my music. My marriage fell apart, and I was suddenly a single father.
I met a 13-year-old black child, Raymond, who had never been to school and had never learnt any words, yet it seemed to me that he was intelligent. It became apparent after a short period that Raymond thought in terms of visual signs and movements.
I truly believe that we're about to enter a second golden age of design. The first one was in the '50s and '60s, when designers like Raymond Loewy, Charles Eames, George Nelson and Dieter Rams were shepherds of the brands they were working with. They had influence over the products and how companies communicated and promoted themselves.
I don't much live my life as if I was living in a Raymond Chandler novel, which is probably a good thing.
