I suppose that I was a kind of consultant for taste. Is it good taste? Or bad taste? I had an attention to detail, to what would tell best the story. Because many people get excited about the work and drift off from the story.
So, what are you?" "What I am is someone who doesn't want you to jump out of the window. The rest are details.
Good writing is remembering detail. Most people want to forget. Don't forget things that were painful or embarrassing or silly. Turn them into a story that tells the truth.
Some people are a natural administrator. They actually enjoy doing it. I find it a chore. I'm not a details person. I go for the big sweep.
I shall be as brief as I can, for it is not by piling up detail that I hope to achieve my picture, but by putting the emphasis where I think it belongs.
He said that the principal function of music was to organize the details into harmonies that were intended to make us forget that there was randomness all around us. The same, he said, could be said for great books.
In examining witnesses, I learned to ask general questions so as to elicit details with powerful sensory associations: the colors, the sounds, the smells that lodge an image in the mind and put the listener in the burning house.
I find significance in all kinds of small details when I run; I'm hyper aware of my surroundings, the sensations in my body, and the thoughts running through my mind. Everything is clearer, heightened.
I would have to say that I have to concentrate more when I'm doing comedy. There are so many details that make up any character, but developing a character for a dramatic role seems to come more naturally.
I just feel so flattered, because the cosplayers really make sure every detail is there. I don't think I've ever cosplayed a character before, but if I were to, I'd probably go as a Klingon from 'Star Trek.'
Once I start writing about something, it goes off rather fast, and sometimes details which might be interesting such as what the room looked like or what somebody said that was not exactly on the same subject tend to get lost.
I mean, journalism is very detailed... you try to get down in the weeds and sort out exactly what happened. And I don't think that a feature film is really a place where that happens.
Basically, all anyone has to do is ask me for fun details or tell me to be creative, and my mind turns to mud. I am instantly the most boring person you've ever met.
If I spend all of my day in the details as a CEO of a company like Wal-Mart, I think it would be trouble, because I wouldn't really be prepared to speak to the big issues that the country or the world should face.
I think that talking about the personal specificity, personal details, is how you get the big, big audiences - by talking about your relationships or your personal tragedies. If you reach out with that energy, you'll touch people.
I try to keep in touch with the details... I also look at the product daily. That doesn't mean you interfere, but it's important occasionally to show the ability to be involved. It shows you understand what's happening.
When I get on a plane, I don't want a laid-back pilot. I want a pilot who is a control freak, who is paying attention to every single detail of his job.
My books don't sell anymore. There are many reasons why they don't sell, but one of the reasons is because people don't read anymore. Forget about reading books of detail - they don't read at all.
So this was the big secret historians keep to themselves: historical research is wildly seductive and fun. There's a thrill in the process of digging, then piecing together details like a puzzle.
For me, there's a fine line between telling a story that's fictional with lots of details and then removing yourself too much from it, so it's bloodless, a little too fictional.
Painting picture by picture, I followed the impressions my eye took in at heightened moments. I painted only memories, adding nothing, no details that I did not see. Hence the simplicity of the paintings, their emptiness.
