I am conscious of trying to stretch the boundaries of non-fiction writing. It's always surprised me how little attention many non-fiction writers pay to the formal aspects of their work.
You can't win for losing. Either you fulfill their stereotype of being a radical 60's person or you've sold out. In fact, of course, millions of people who were active in the 60's are doing work on issues that try to reflect their values.
We need to steer clear of this poverty of ambition, where people want to drive fancy cars and wear nice clothes and live in nice apartments but don't want to work hard to accomplish these things. Everyone should try to realize their full potential.
I was in the Pritikin Center in Santa Monica once, trying to lose 30 or 40 pounds in a month. I'd work... on a treadmill and with the weights, but it was driving me nuts. So I escaped. Tom Arnold picked me up and we went to Le Dome and had tons of de...
Sometimes, as I feel a door or an exit point in my work is closing, I'll try to create an opening so as not to stifle the creative process, which I see as a process that's never-ending.
My work schedule has changed over the years. The one constant is, when at work on a novel, I try to work seven days a week, so as not to lose touch with that world. Within that, I'm flexible on hours and output.
It has always been my practice to cast a long paragraph in a single mould, to try it by my ear, to deposit it in my memory, but to suspend the action of the pen till I had given the last polish to my work.
It's such a weird thing to try to plan a baby around a TV season. There's a three-month or four-month window in the summertime to have a baby and hang out with it a little bit before hopefully going back to work, so we were just very lucky.
I work intentionally to try and make dense, complex things. We can move between genres and forms, from something that looks like a PowerPoint lecture to something that looks like an informercial to something that looks like a cinematic melodrama.
I got a way to get through to kids. I try to take that and use that to my advantage. If we work on the kids right now, I'm telling you, they'll be making less mistakes, the jails will be gettin' less full. It's all about what we do with the kids.
I try to work out with my personal trainer for an hour, four times a week - we mainly concentrate on weights and running. If I'm on the road I sometimes do DVD work-outs in my hotel room - P90X and Insanity are a couple of my favourites.
I tend to just do whatever I want on an album and try to make it work. I'm just adventurous. It's most exciting to be at the edge of your abilities. I want to see how far I can push things.
I'm one of these very focused people when it comes to day-to-day work, and I'm trying not to think about what comes next so that I can stay very focused on what I'm doing now.
When I began I thought that literature was contained within a bubble that somehow floated above the world commented upon by newspapers. But I became more and more interested in trying to include some of that world within my work.
When I was trying to find work after drama school in London, it felt like the same actors always got the plum roles, especially in television. We have a smaller market place, vastly fewer drama-producing networks, and they seem to compete for the sam...
The modern believer is not suspicious enough, which is perhaps why, when they try to construct arguments in their defence, the convictions are left doing all the work and reason, debilitated by neglect, weakly fails to prop them up.
In a way, I'm always trying to do something I'm not qualified to do. So I feel that lack of qualification. And I'm scared. And I have a tendency to think things may not/probably won't work out. That's my basic mindset.
It seemed impossible that a scrappy book like 'Goon Squad' could win an award like that. It's such an iconic honor. I think what the Pulitzer means to me is that I'll need to work very, very hard to try to live up to it.
I try to do a lot of asymmetrical, triangular compositions - I find those work really well for comic book covers in that portrait mode, and I don't always see that in other artists.
It's thought of as an eccentric thing for an actor to really try to maintain quality control through the whole career. Most people think, 'You just work. You just keep working.' And in some ways I wish I could be a guy who's just a workhorse.
In the past I have declined to comment on my own work: because, it seems to me, a poem is what it is; because a poem is itself a definition, and to try to redefine it is to be apt to falsify it; and because the author is the person least able to cons...
