Quotes About Expression

No matter how wonderful the story, it has to move on something, and that is language. The words that I use, the pace, the rhythm and cadences all need to be there. If they're not there, the story is like a boat that just sits there and doesn't move on the ocean.

You wouldn't catch me dead in a fanny pack.

It's always been a conscious thing for us to do whatever will separate us from the pack and make us happy musically.

Cinema is not about wearing 'bikni' and showing 'six packs'... All these are secondary.

I wanted to express myself more fully through writing and directing. It just feels like a package deal. Anytime you create anything, you try to exert mastery over your world.

There's a lot of writing in television that can sound like it's taken out of a package, and the way to get around that is to not allow yourself to deliver it that way.

Creativity and self-destruction sometimes come in the same package.

It was a little at a time but I broke out my Walkman and my lyric pad and started writing.

So I think I sometimes will put a cliche in and then just pad it out so you're not noticing.

I keep a note pad because, sometimes, my thoughts get jammed up, and this is the only way that I can just, I can put brakes on it and brace myself, and just really, I feel like it's better when I see it on paper.

Writing is always a restorative process. It's like paddling a kayak. When you're writing, you can't do anything else. You're in the space you're in. So, in that way, it's enormously centering and restorative.

It's very hard for me to be myself when I'm not in shoulder pads.

I enjoy the freedom of the blank page.

Everybody's idea of a great book is different, of course. For me it's one that makes my jaw drop on every page, the writing is so original.

My sketchbook is not sacrosanct, and my children would draw on one page while I drew on the other. It was something we shared.

I live for the blank page.

Once you're directing, you're kind of in a certain mode, where you're taking whatever is on the page and forming it into the film that you think it might want to be. So whether it's my writing or not, I still try to work with it in the same way.

I would like to say to children, 'Don't stop drawing. Don't tell yourself you can't draw.' Everyone can draw. If you make a mark on a page, you can draw.

The flaw of an amateur is to assume what's in our head is what's on the page.

To attempt to write seriously is always, I feel, to fail - the disjunction between my beautifully sonorous, accurate and painfully affecting mental content, and the leaden, halting sentences on the page always seems a dreadful falling short.

When I write, the first blank page, or any blank page, means nothing to me. What means something is a page that has been filled with words.

Getting an idea for a book is not the problem, but you need 300 ideas - an idea a page.

Sometimes I get a lyric, and the lyric, you know, comes off the page, and goes into my brain and comes out with a melody. Other times, I may create a melody first.

I like acting for myself as a director. I act and I know that I'll have a chance to have some say in what gets used and that I'll be able to give myself enough takes and be on the same page as myself about how the scene should play.