Buscar la verdad es la mayor virtud y es lo que hace que un drama sea interesante. No me interesa contar historias con perfume de rosas en las que todo va bien
I know where a lot of them [the elite or elitists] live. Where's that? Well, in our nation's capital and New York City. I've seen it. I've lived there.
It's not really a surprise we were known as the weaker sex, because you literally cannot get a breath. So it's sort of, as soon as you start getting emotional, if you're doing an emotional scne, you can't calm down. you can't literally draw a breath to try and center yourself again,
I am not gay, although I wish I were, just to piss off homophobes.
Q: Where and when do you do your writing? A: Any small room with no natural light will do. As for when, I have no particular schedules... afternoons are best, but I'm too lethargic for any real regime. When I'm in the flow of something I can do a regular 9 to 5; when I don't know where I'm going with an idea, I'm lucky if I do two hours of productive work. There is nothing more off-putting to a would-be novelist to hear about how so-and-so wakes up at four in the a.m, walks the dog, drinks three liters of black coffee and then writes 3,000 words a day, or that some other asshole only works half an hour every two weeks, does fifty press-ups and stands on his head before and after the
What girl doesn't love the tortured bad boy? I think when it comes to bad boys, girls/women have this desire to step forward and try to rescue that sort of individual. It is very appealing to the nurturer inside us I think.
Who is better off? The one who writes to revel in the voluptuousness of the life that surrounds them? Or the one who writes to escape the tediousness of that which awaits them outside? Whose flame will last longer?
I was taken to a villa to meet Sabri al-Banna, known as 'Abu Nidal' ('father of struggle'), who was at the time emerging as one of Yasser Arafat's main enemies. The meeting began inauspiciously when Abu Nidal asked me if I would like to be trained in one of his camps. No thanks, I explained. From this awkward beginning there was a further decline. I was then asked if I knew Said Hammami, the envoy of the PLO in London. I did in fact know him. He was a brave and decent man, who in a series of articles in the London Times had floated the first-ever trial balloon for a two-state solution in Israel/Palestine. 'Well tell him he is a traitor,' barked my host. 'And tell him we have only one way with those who betray us.' The rest of the interview passed as so many Middle Eastern interviews do: too many small cups of coffee served with too much fuss; too many unemployed heavies standing about with nothing to do and nobody to do it with; too much ugly furniture, too many too-bright electric lights; and much too much faux bonhomie. The only political fact I could winnow, from Abu Nidal's vainglorious claims to control X number of 'fighters' in Y number of countries, was that he admired the People's Republic of China for not recognizing the State of Israel. I forget how I got out of his office.
One cannot
And one has to understand that braveness is not the absence of fear but rather the strength to keep on going forward despite the fear.
Emotionally I am an atheist. I don't have the evidence to prove that God doesn't exist, but I so strongly suspect he doesn't that I don't want to waste my time.
I think I can say without fear of inaccuracy that description is my strong point. Possibly this fact is central to my feeling excluded and so on in what might be called
There is this thing called the university, and everybody goes there now. And there are these things called teachers who make students read this book with good ideas or that book with good ideas until that's where we get our ideas. We don't think them; we read them in books. I like Utopian talk, speculation about what our planet should be, anger about what our planet is. I think writers are the most important members of society, not just potentially but actually. Good writers must have and stand by their own ideas.
I do not want to talk about it.
(When asked: But you have a very open relationship with your fans.) Yes. We have an open relationship. Obviously they can see other authors if they want, and I can see other readers.
But criticism, for the most part, comes from the opposite place that book-enjoying should come from. To enjoy art one needs time, patience, and a generous heart, and criticism is done, by and large, by impatient people who have axes to grind. The worst sort of critics are (analogy coming) butterfly collectors - they chase something, ostensibly out of their search for beauty, then, once they get close, they catch that beautiful something, they kill it, they stick a pin through its abdomen, dissect it and label it. The whole process, I find, is not a happy or healthy one. Someone with his or her own shit figured out, without any emotional problems or bitterness or envy, instead of killing that which he loves, will simply let the goddamn butterfly fly, and instead of capturing and killing it and sticking it in a box, will simply point to it -
There's a marvelous peace in not publishing, there's a stillness. When you publish, the world thinks you owe something. If you don't publish, they don't know what you're doing. You can keep it for yourself.
Edward Smith: What do you think is the characteristic of a really nice person? Some people you obviously do like more than others. Andy Warhol: Ummm, well, if they talk a lot. ES: What, and don't make you talk? AW: Yeah, yes, that's a really nice person.
There is a marvelous peace in not publishing ... I like to write. I love to write. But I write just for myself and my own pleasure.
Interviewer: Have you ever considered writing nonfiction? Mary Doria Russell: Oh, honey, I did! Let's see...There was
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