The dean of the American Film Institute has written that I'm one of the very few auteurs in America. I've had freedom for 40 years to create art that is totally personal and is what I believe in.
I want to write such things as compel the admiring acclamation of the world at large, such things as are written but once in years, things subtle but distinctly different from the books written every day.
Here is the operating motto of the Obama White House: 'So let it be written, so let it be done!' Like Yul Brynner's Pharaoh Ramses character in Cecil B. DeMille's 'The Ten Commandments,' the demander in chief stands with arms akimbo issuing daily edicts to his constitution-subverting minions.
Once I've written a song, I sometimes refine them.
I respond very well to well-written material and women who have had an effect on society, something tragic or monumental has happened to them.
Many Scandinavian writers who had made their name in literary fiction felt they wanted to have a go at the crime novel to show they could compete with the best. If Salman Rushdie had been Norwegian, he would definitely have written at least one thriller.
I've written a song for Prince. I never showed it to Prince, but just to see if I could do it. At the time, when I sort of knew him, he was recording a song a day. I wondered if I could do that. So I wrote it.
I've always written about animals. I'm still trying to process why that is.
Well, first you have to love writing. A lot of authors love having written. But I enjoy the actual writing. Beside that, I think the main reason I can be so prolific is the huge amount of planning I do before I start to write. I do a very complete, chapter-by-chapter outline of every book I write. When I sit down to write, I already know everything that's going to happen in the book. This means I've done all the important thinking, and I can relax and enjoy the writing. I could never write so many books if I didn't outline them first.
The Holy Spirit is no skeptic. He has written neither doubt nor mere opinion into our hearts, but rather solid assurances, which are more sure and solid than all experience and even life itself.
The full history of the interlocking participation of the Imperial German Government and international finance in the destruction of the Russian Empire is not yet written...It is not a mere coincidence that at the notorious meeting held at Stockholm in 1916, between the former Russian Minister of the Interior, Protopopoff, and the German Agents, the German Foreign Office was represented by Mr. Warburg, whose two brothers were members of the international banking firm, Kuhn, Loeb and Company, of which the late Mr. Jacob Schiff was a senior member.
Catch me on a good day, I think half of my books aren't too bad. Catch me on a bad day, I think I've never written a good line.
The picture alone, without the written word, leaves half the story untold.
What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.
I have written every one of my novels to convince somebody of something.
Of course a politician's promise isn't worth the paper it's written on.
There's a lot of artists whose contracts are written in such a way that they do not get paid for what's happening on streaming services.
The Wire,' I was such a fan of that show the first season - I think that's the best-written show on TV.
I took the first James Kelman novel, 'The Bus Conductor Hines', home to my dad. I thought, 'My dad will like this; it's written in Scots.' But my dad said: 'I can't read that.' He was reading James Bond and John le Carre. That was part of what attracted me to crime - the idea of getting a wide audience.
I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.
I've given some money to the scholarships in the District of Columbia, to the best students in D.C... many of the students have written me letters telling me they could not have afforded to go to college without the scholarship and money I've given them.
Mostly I work really unconsciously, and I think if the scenes are really well written, which they are, and if I just throw myself into it, I don't really think about it.
But everything written has style. The list of ingredients on the side of a cornflakes box has style. And everything literary has literary style. And style is integral to a work. How something is told correlates with - more - makes what's being told. A story is its style.
I liked to think I had written 'scripts' when I was in high school, but looking back at them, they were about thirty pages of wannabe-Mamet dialogue with a staple through them.
Conducting! A subject, truly, concerning which much might be written, yet scarcely anything of real importance is to be found in books.
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