God, I hate interviews with actors pouncing on. Who wants to know about their lives? I don't want to know about Al Pacino's life.
What I really mean is that actors do the interview process because they have to. It's a good bargain: If I can do this part then I'll sell it. I just wish it wasn't me who had to do it because it feels very unnatural.
I've done interviews with actors who I've worked with who I really like, and I'm like, "Wow, look at you. You're just going on . . . You don't even know what you're saying!"
You watch the interview afterwards, and they didn't really say much, but it's interesting, funny, and engaging. Whereas I sit there and look a little bit too serious, and as soon as that happens then you're uncomfortable and you don't want to watch.
It's wonderful to read interviews by old blues guys - they talk about all their influences, they talk about who taught them how to play, and who they saw, and how they were determined to play that way.
What I realized with Funny or Die is that I could take it into my own hands. On a much smaller scale, I think these videos are an accurate representation of who I am. As weird as they may be, I'm at least proud of them, and it showed that I do have a slightly different voice. I can't tell you how often people bring up these videos in interviews, and I'm so happy to talk about them because we created them from the ground up.
For a much lauded writer, I'm not terribly self-absorbed. In social situations, which are difficult for me - I mean, this is an interview - I'm normally uncomfortable talking about myself.
Foreign news is considered an expletive. Thoughtfully written analysis is out, 'live pops' are in. 'Action Jackson' is the cry. Hire lookers, not writers. Do powder puff, not probing interviews. Stay away from controversial subjects. Kiss ass, move with the mass, and for heaven and rating's sake, don't make anybody mad- - certainly not anybody you're covering, and especially not the mayor, the governor, the senator, the president or the vice-president or anybody in a position of power. Make nice, not news.
I feel like a lot of people involved with celebrity journalism have interesting ideas about the people they want to write about going into the interview. Then as soon as they actually sit down with that person, they basically ask the questions they think journalists are supposed to ask, and they start viewing themselves almost as a peer of the subject. Like they're going to become friends. That's why most celebrity journalism is so terrible.
I think it's very important to get this stuff on film, not just the behind-the-scenes of the process, but also the interviews with the women. We're going to try to do some on-the-street filming, getting people's reactions to the work, and seeing if we can get some street harassment happening on film so people can see what we're talking about. It's important to have some type of documentation so people can see what happens when we create this artwork and why I'm creating it.
I welcome death. In death there are no interviews!
That's one of those hazards of an interview: You get tired of your stock answer and you try to get creative and even play devil's advocate.
I remember reading an interview with a writer who said that in nonfiction if you have one lie it sort of messes it up. But in fiction the real details give you so much more credibility, because people do so much research just to write fiction. In fiction you're trying to recreate something lifelike.
What I think is so great about interviews, is when people cite inspirations.
I remember Bob Dylan saying in an interview that at a certain point he'd had to learn to do consciously what he'd previously done unconsciously or automatically. That resonates.
A beautiful word in the middle of a sentence can sometimes reduce me to tears in an interview, and when I'm reading, too. I've sometimes wondered whether I'm at the point of tears all the time because I use my eyes so much that they're strained and on the verge of tears anyway.
Your interviews or blog posts or whatever are less supplements to your novel than part of it. I'm not private, but I believe in literary form - I'll use my life as material for art (I don't know how not to do this) and I'll use art as a way of exploring that passage of life into art and vice versa, but that's not the same thing as thinking that any of the details of my life are interesting or relevant on their own.
In several speeches and interviews, Donald Trump has brought up his book 'The Art of the Deal,' and said that Obama would have negotiated a better deal with Iran if he had read it. It got even more awkward for Obama when Iran was like, 'It worked for us - you guys got screwed!'
In a recent interview, Jeb Bush revealed that his brother George gave him the nickname 'tortoise' because he's making slow, steady progress. Though I think the bigger story here is that compared to George, Jeb is the slow one.
I interview every employeeand I have 3000 employees. It's an obsessive sickness.
Years ago I read an interview with Paula Fox in which she said that in writing, truth is just as important as story. Reading that interview was the first time I really understood that there's no point in trying to impress people with my cleverness when I can just try to write honestly about what matters most to me.
Mike Wallace's interviews may make great television, but they don't produce great evidence.
One of the strengths of my interviews is that I really, honest to God, have no idea what people are going to say.
I've done interviews in one day that went on for fifteen, sixteen hours. And at a certain point, the control over what they're saying breaks down; it becomes different. It becomes really powerful, and for me, real. It becomes out of control.
Quentin [Tarantino] is a filmmaker who really dives into things very seriously and deeply. And when he does interviews, he really wears his heart on his sleeve and he doesn't hold anything back.
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