BRADBURY: You can’t learn to write in college

INTERVIEWER
You have said that you don’t believe in going to college to learn to write. Why is that?
Ray Bradbury
BRADBURY
You can’t learn to write in college. It’s a very bad place for writers because the teachers always think they know more than you do—and they don’t. They have prejudices. They may like Henry James, but what if you don’t want to write like Henry James? They may like John Irving, for instance, who’s the bore of all time. A lot of the people whose work they’ve taught in the schools for the last thirty years, I can’t understand why people read them and why they are taught. The library, on the other hand, has no biases. The information is all there for you to interpret. You don’t have someone telling you what to think. You discover it for yourself.

Create from your own experience: Michael Haneke

INTERVIEWER
But would you say that drawing from one’s own experience and background is always good—or even necessary?
haneke_lg
HANEKE
I’ve never seen good results from people trying to speak about things they don’t know firsthand. They will talk about Afghanistan, about children in Africa, but in the end they only know what they’ve seen on TV or read in the newspaper. And yet they pretend—even to themselves—that they know what they’re saying. But that’s bullshit. I’m quite convinced that I don’t know anything except for what is going on around me, what I can see and perceive every day, and what I have experienced in my life so far. These are the only things I can rely on. Anything else is merely the pretense of knowledge with no depth. Of course, I don’t just write about things precisely as they have happened to me—some have and some haven’t. But at least I try to invent stories with which I can personally identify.

Camus : A stranger life-1

Interviewer: The opening line of this novel (the stranger) has become one of the most widely known quotes in literature. What is your response to this and what were your original intents for the line?

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Camus: When I was writing this novel, I did not intend for this line to become so well known. I did not even intend for this line to be spectacular or even important. But after the readers have read this novel, they believe that this line is very important to the novel. After sixty-something years, I have begun to agree with my readers. I think this is a very important line, and I have even begun to consider it worthy of its fame. I am a strong proponent of the Theory of the Absurd, and this line sums up the Theory very well. The Theory discusses the lack of coherence in a brief and painful human existence. In the first line of The Stranger, the reader gets their first glimpse of the Absurd in the character Meursault and the telegraph he just received. Meursault is essentially saying that the loss of his mother means nothing to him. Most people would argue that their mother’s death is a big deal, but Meursault, an indirect proponent of the Absurd, dismisses his mother’s death as a trivial event. Given the basis behind the line, I am glad that it has become so popular and widely known. I feel very strongly about the Theory of the Absurd, and I am glad I can spread my wisdom to others. After seeing the success of this single line, I feel very positive about what has happened to it and my novel.

 

 

Werner Herzog and movies as a corporate product

Q: So if someone gives you $150 million for a film, that’d become essentially a corporate product.

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image source : internet

Herzog: Not necessarily. If you give me $150 million and never show up again [laughs], I would deliver something big and beautiful. But when you have to deal with a corporate world and every single line of dialogue has have the approval of a boardroom decision, then you are probably having too many limitations. And it becomes lifeless very easily. This is why all of these films, many of the big films that the industry creates, are very predictable and very much in a format that is ironclad. It’s not a kind of filmmaking for me.

source : http://www.indiewire.com/2016/07/werner-herzog-interview-master-class-1201706508/

MÁRQUEZ on writers’ suffering

Q: Blaise Cendrars said that writing is a privilege compared to most work, and that writers exaggerate their suffering. What do you think?
GARCÍA MÁRQUEZ:gabrielgarciamarquez
I think that writing is very difficult, but so is any job carefully executed. What is a privilege, however, is to do a job to your own satisfaction. I think that I’m excessively demanding of myself and others because I cannot tolerate errors; I think that it is a privilege to do anything to a perfect degree. It is true though that writers are often megalomaniacs and they consider themselves to be the center of the universe and society’s conscience. But what I most admire is something well done. I’m always very happy when I’m traveling to know that the pilots are better pilots than I am a writer.

Maya Angelou on courage

Q: Your latest book is about your mother. What did you learn from her?

Maya: To develop courage. And she taught me by being courageous herself. I realized that one isn’t born with courage. One develops it by doing small courageous things—in the way that if one sets out to pick up a 100-pound bag of rice, one would be advised to start with a five-pound bag, then 10 pounds, then 20 pounds, and so forth, until one builds up enough muscle to lift the 100-pound bag. It’s the same way with courage. You do small courageous things that require some mental and spiritual exertion.

 

A portriat of poet Maya Angelou on June 3, 1974.
UNKNOWN LOCATION, – JUNE 3: Poet Maya Angelou on June 3, 1974. (Photo by Craig Herndon/The Washington Post via Getty Images)

Bob Dylan on reporters

Q: You’ve been very reluctant to talk to reporters, the press and so on …  why is that?

Dylan: Why would you think?

Q: Well, I know why you won’t go on those things.a-exposicao-photographs-of-bob-dylan-reune-fotos-feitas-por-daniel-kramer-durante-turne-do-bardo-entre-1964-e-1965-kramer-registra-a-metamorfose-do-artista-de-trovador-folk-a-icone-do-rock-n-roll-1353032415588_1920x1080.jpg

Dylan: Well, if you know why, you tell ’em … ’cause I find it hard to talk about. People don’t understand how the press works. People don’t understand that the press, they just use you to sell papers. And, in a certain way, that’s not bad … but when they misquote you all the time, and when they just use you to fill in some story. And when you read it after, it isn’t anything the way you pictured it happening. Well, anyhow, it hurts. It hurts because you think you were just played for a fool. And the more hurts you get, the less you want to do it. Ain’t that correct?