I get a million ideas a day and I don't put too much weight on any one of them. The ones that really stick in my head are the ones I end up doing.
Because I write fiction, I don't write autobiography, and to me they are very different things. The first-person narrative is a very intimate thing, but you are not addressing other people as 'I' - you are inhabiting that 'I.'
When I started 'Case Histories,' the characters were all going to Antarctica on a cruise. The first part was called 'Embarkation.' It was supposed to be about everyone preparing to embark on the cruise, but it mushroomed into an entire book.
Because I've a track record of talking about books I never write, in Australia they think I'm about to write a book about Jane Austen. Something I said at some festival.
I need to be very isolated to write, and unfortunately isolation is often quite difficult to find. My ideal writing environment would be a country house hotel in the middle of nowhere, with full room service.
Teddy didn't really understand the attraction of the dark side for the young these days. Perhaps because they had never experienced it. They had been brought up without shadows and seemed determined to create their own.
When you are editing, the final master is Aristotle and his poetics. You might have a terrific episode, but if people are falling out because there are just too many elements in it, you have to begin to get rid of things.
Radical Edwards's profile? He's a seven-foot tall ex-basketball pro hindu guru drag-queen alien. -Jet Black, from the Cowboy Bebop anime script
I think I do myself a disservice by comparing myself to Steve Jobs and Walt Disney and human beings that we've seen before. It should be more like Willy Wonka... and welcome to my chocolate factory.
I believe in myself like a five-year-old believes in himself. They say look at me, look at me! Then they do a flip in the backyard. It won't even be that amazing, but everyone will be clapping for them.
Mostly I do Iyengar. I like anything that's hard enough to make me cry in class. I like to be pushed over my limit and broken down a little bit.
When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.
There is nothing particularly wrong with salmon, of course, but like caramel candy, strawberry yogurt, or liquid carpet cleaner, if you eat too much of it you are not going to enjoy your meal.
I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.
If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.
Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.
I like to begin every screenplay with a burst of delusional self-confidence. It tends to fade pretty quickly, but (for me, at least) there doesn't seem to be any other way to start writing a script.
I don't want to make 'Chandni Bar 2.' I didn't think 'Fashion 2' will happen. If a film ends on a high note... makes the audience think and lingers in the end... that is needed.
I'm a huge cinemaphile. My interest in filmmaking came out of experimenting with different genres, and I wanted to go back to working in a way that was more personal, which, for me, was artwork. Commercials and films are more collaborative.
He looked like such a Republican. He dressed like Pee-Wee Herman. But had I known what he had done when I was reading about him, I might have thought different.
I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head.
