Q: How does an idea for one of your films come together?
David Lynch: I always say ideas drive the boat. Ideas are a huge, huge blessing. That’s the thing you try to catch – an idea that you fall in love with. Every time that I have made a film that’s not from a book or somebody else’s screenplay, it happens the same way. The whole thing doesn’t come at once, but fragments of things come and these fragments form themselves into a script. You write the idea down and save it until the next idea comes, and little by little the majority of ideas find themselves in a script – which is organized ideas. Then you go and shoot that script and edit it and you mix sounds and music. It’s a process. An idea can give a story that is more abstract and not so straight-ahead, and sometimes it gives you a story that is more straight-ahead.
Source : http://the-talks.com/interview/david-lynch
Q : What’s it like writing a book?
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Roald Dahl : When you’re writing it’s rather like going on a very long walk, across valleys and mountains and things, and you get the first view of what you see and you write it down. Then you walk a bit further, maybe up on to the top of a hill, and you see something else, then you write that and you go on like that, day after day, getting different views of the same landscape. The highest mountain on the walk is obviously the end of the book because it’s got to be the best view of all, when everything comes together and you can look back and see everything you’ve done all ties up. But it’s a very, very long slow process.
Source : https://clubs-kids.scholastic.co.uk/clubs_content/1491
Interviewer : Did you grudge her the decision of making you quit studying?
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Rahman : At that time, from society’s point of view, if you were not educated, you didn’t have a life. You would probably become a taxi or rickshaw driver without education. So naturally, I was torn at that time. And I thought that after a couple of years when I earn money, I would go back to finishing my education. But little did I know that education is about learning from life and putting you in a situation teaches you more than getting educated in a college. Not that studies is bad, but it’s the difference between knowledge and wisdom. Wisdom comes from within. Knowledge is acquired and can sometimes put a screen on your wisdom. Because of this unfulfillment, I have a constant itch to learn from life. But my first job of working with Ramesh Naidu, as his second keyboard player, is what helped me buy my own instruments, which then became my future.
Source : http://timesofindia.indiatimes.com/entertainment/hindi/music/news/In-every-song-I-ask-help-from-God-AR-Rahman/articleshow/20587998.cms
FAIRFAX: In the conclusion of This Changes Everything you do say quite explicitly you see opportunities in addressing climate change to make up for economic injustice that was not addressed in past social movements.
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KLEIN: The argument is that I am making is that we are facing multiple, overlapping crises and they have their roots in the same system, the same logic.
We are facing an equality crisis and that inequality very sharply followed racial lines. We have an unemployment crisis. We have a really unstable economic system, that is getting more and more unstable and I think everybody is waiting for the next crash.
And the logic that has produced that, the reliance on short term profits above all else, no matter the cost, is the same logic that is producing the climate crisis.
So I am arguing that if we want to respond to the climate crisis in a way that actually that produces a more stable system, we have this once in a century opportunity to get at the roots causes of all these crises.
These issues are interconnected and if we don’t see those connections we are going to produce a much more unequal world in the face of the climate crisis.
Source : http://www.smh.com.au/environment/transcript-interview-with-naomi-klien-author-of-this-changes-everything-20150813-giyy76.html
Interviewer : The films you’ve made since beginning Histoire(s) du cinéma are more emotional than anything you’ve done before. Each feels like an attempt at reconciliation with cinema.
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Godard : Yes. I think, if I may say so, it’s like a sentence by Picasso I was once struck by: “I like to paint until the painting refuses me.” I would say that cinema won’t refuse me for a couple more films, a couple more decades, so it’s a reconciliation. Not with what I want, because I don’t know what I want, but with what I want from what I have. And to be more able to not ask for something else, but to do only what you really like, to deal with what you have. It’s a more peaceful attitude. When I’m doing a picture, I’m not angry anymore when it is not well done. Not to be angry that the picture should be this way or against another way, but just to do it your way.
Source : https://www.filmcomment.com/article/jean-luc-godard-interview-nouvelle-vague-histoires-du-cinema-helas-pour-moi/
How can a young poet know if his work is really worthwhile?
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You never know that. I don’t know it; Robert Lowell doesn’t know it; John Berryman didn’t know it; and Shakespeare probably didn’t know it. There’s never any final certainty about what you do. Your opinion of your own work fluctuates wildly. Under the right circumstances you can pick up something that you’ve written and approve of it; you’ll think it’s good and that nobody could have done exactly the same thing. Under different circumstances, you’ll look at exactly the same poem and say, “My Lord, isn’t that boring.” The most important thing is to be excited about what you are doing and to be working on something that you think will be the greatest thing that ever was. One of the difficulties in writing poetry is to maintain your sense of excitement and discovery about what you write. American literature is full of people who started off excited about poetry and their own contribution to it and their own relationship to poetry and have had, say, a modicum of success and have just gone on writing poetry as a kind of tic, a sort of reflex, when they’ve lost all their original excitement and enthusiasm for what they do. They do it because they have learned to do it, and that’s what they do. You have to find private stratagems to keep up your original enthusiasm, no matter what it takes. As you get older, that’s tougher and tougher to do. You want to try to avoid, if you possibly can, the feeling of doing it simply because you can do it.
You once wrote a poem dedicated to Einstein.
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MILOSZ : I knew Einstein. In fact, I worshipped him. My cousin Oscar Milosz believed that his theory of relativity had opened a new era of mankind—an era of harmony, reconciliation between science, religion, and art. The positive consequence of Einstein’s discoveries was the elimination of Newtonian time and space as infinite and the introduction of the relativity of time and space that underlies our cosmology and its concept of the big bang. I approached Einstein with enormous reverence. So I wrote a poem about him. At the time he was convinced that the world was moving toward destruction because of atomic weapons, and that the only solution was to create a world government to control the weapons. In 1948, he wrote a paper in that spirit and sent it to the World Congress for Intellectuals in Wroclaw, Poland. The congress was just a front for Stalin’s armaments policy, and the Russians opposed reading that memo. Around that time I asked Einstein whether I should go back to Poland or stay abroad. He thought I should return and was very frank about it.
Source : https://www.theparisreview.org/interviews/1721/czeslaw-milosz-the-art-of-poetry-no-70-czeslaw-milosz