Bond investors want growth much like equity investors, and to the extent that too much austerity leads to recession or stagnation then credit spreads widen out - even if a country can print its own currency and write its own cheques.
If you write an original, it's like you went in and dug a well, and you hit oil. But an adaptation, it's like the oil well's on fire, and they bring you in to put the fire out and get it working again - or something like that.
You can write anything you want on paper, like blowing up the bridge on the River Kwai, but when you actually have to do that as a director, it's not the same. Ninety percent of directing is not creative - it's putting the theoretical into the practi...
I enjoyed needling the press. If I didn't enjoy it, I wouldn't have done it. Writers have rarely played, so as a coach, you have antagonistic feelings about some guy writing up the story of the game who's never even attempted to play it.
It is not important for me as a writer that you leave a piece of writing of mine with either an agreement or even a resonance with what I have said. What is important is that you leave with the resonance of what you have felt and what you thought in ...
The stories are there first, and they come from my experiences wandering around in the world. They will resonate into bigger things, forces sweeping the planet, themes and archetypes, but I'm not smart enough to have lucid integration of all that in ...
I had to be the world's biggest loser, writing about hair, and stuff about my body. No wonder I stopped keeping a journal. It was like keeping a record of my own stupidity. Why would I want to do that?
What has bothered and angered radical Muslims is that I'm a non-Muslim writing anything at all about Islam. But this is fiction, and I don't think Islam is above criticism or fictionalization any more so than Judaism, Christianity, Mormonism or Hindu...
I write about things that are important for us as Americans. I'm concerned about al-Qaeda sneaking across the border with the illegal immigrants that are using the coyotes to get across the border. And that's not a Democrat or Republican issue, that'...
I started working for the 'NY Observer' when I was 33. After I had been writing for them for about a year and a half the editor said, 'Your stories are the most talked about stories in the 'Observer'; you should have your own column.'
A lot of people have asked me about some of the characters that appear in 'Clockwork Prince,' like Aloysius Starkweather and Woolsey Scott. A lot of people like Woolsey Scott, which I was really happy about because he's very fun to write.
I think that if writers are tempted to do other things, they ought to go do other things. They should not write if they don't feel like it. I say this as a competitor. I am not interested in encouraging people who are in competition with me.
I think that the idea that I'm writing for many more people than I ever imagined has created a certain general responsibility that is literary and political. There's even pride involved, in not wanting to fall short of what I did before.
It's like these ideas, these characters, kind of bubble up inside me, and one day they're not there, and the next day they are there. They're alive, and they're whispering in my head and all that stuff, and I want to write about those things.
When I'm dead, somebody can write my biography. I wrote a national hymn, an anthem, which I don't want to present to that country. But I have a deal with my wife - when I'm dead, she should offer it, because then I'm safe.
I always say it took me 10 minutes to write 'Cars,' but if I am honest it could have been even less than that - and it has been a really successful song over the years. It is still massively used, in advertising, in films, and people do cover version...
From ... the age of five or six, I knew that when I grew up I should be a writer. ... I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and writ...
I went to college at NYU for acting, since acting was my dream from very young. I did a lot of hip-hop courses while I was there. I helped co-write a hip-hop production for the main stage of NYU, but I never touched rap.
As the voices fall silent, the individuals who make up the amorphous and always changing community must decide for themselves, as they always have. I can’t write a coda because I can’t speak for others. I can only and ever speak for myself.
If you're supposed to be doing something, the spirits will come and help you. They have helped me out with lines I shouldn't have known, chords I shouldn't have known. Every once in a while I get lines from somewhere, and I think, I better write this...
I've written for 'The Times' because they have valued what I do enough to pay me. The 'New Statesman' magazine also asked me to write an article, but they didn't want to pay me anything. To me, that shows how much they value quality journalism.
