Any magazine-cover hack can splash paint around wildly and call it a nightmare, or a witches sabbath or a portrait of the devil; but only a great painter can make such a thing really scare or ring true. That's because only a real artist knows the anatomy of the terrible, or the physiology of fear.
I want to do wardrobe. I want to do hair. I want to do makeup. I want to do writing. I want to do directing. I want to do all of it. I like it. And I want to do producing.
He that writes to himself writes to an eternal public. That statement only is fit to be made public, which you have come at in attempting to satisfy your own curiosity.
What I try to do is write. I may write for two weeks ‘the cat sat on the mat, that is that, not a rat,’.... And it might be just the most boring and awful stuff. But I try. When I’m writing, I write. And then it’s as if the muse is convinced that I’m serious and says, ‘Okay. Okay. I’ll come.
What I write is different from what I say, what I say is different from what I think, what I think is different from what I ought to think and so it goes further into the deepest darkness.
One of the problems we have as writers is we don't take ourselves seriously while writing; being serious is setting aside a time and saying if it comes, good; if it doesn't come, good, I'll just sit here.
The importance is getting to something truthful and in that moment can only be in that moment. I don't like to use the word "improvise," but it's a continual writing of the film.
Modern reformers offer nebulous theories or write philanthropic novels. But your thief acts! He is as clear as a fact and as logical as a punch on the nose! And what a style he has!